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  • Theatre Under the Stars Delivers a Killer Little Shop of Horrors

    Theatre Under the Stars Delivers a Killer Little Shop of Horrors

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    Man-eating plants just in time for Halloween?

    Yes, please.

    But not just any man-eating plant, we’re talking about the infamous Audrey II of Alan Menken and Howard Ashman’s Little Shop of Horrors, now taking root at Theatre Under the Stars in a brand-new production of the oft-beloved musical.

    The show centers around a little florist shop on Skid Row with a big problem – no customers. At the end of another sale-less day, the owner, Mr. Mushnik, tells his two employees, Seymour and Audrey, not to bother coming in the next day; he’s shutting it down. In an effort to change his mind, Audrey tells Mr. Mushnik about a “strange and interesting” plant Seymour found during a total eclipse of the sun, which she believes might attract business. The plant is like nothing they’ve ever seen before, and though he thinks it’s some kind of flytrap, Seymour can’t find anything like it in his books. Regardless, the plan works. The plant, which Seymour names Audrey II, immediately draws in customers. Business booms and Seymour becomes something of a celebrity for discovering a new breed of plant life.

    But there’s a new problem. Audrey II tends to grow and then wilt, and nothing Seymour does seems to help. It’s not until Seymour pricks his finger on a rose’s thorn that he gets a clue as to what the plant wants. It turns out Audrey II wants blood. “It must be blood and it must be fresh,” says Audrey II, which has inexplicably started talking. Now, with the fate of the shop, his crush on Audrey I, and his own future on the line, Seymour has to decide just how far he’ll go to feed the plant’s ever-increasing hunger.

    Let it never be forgotten that the grotesquely absurd plot of Little Shop of Horrors isn’t just musical theater homage to the sci-fi B-movies of the mid-20th century, it’s literally based on a Roger Corman film from 1960 – a film that’s origin basically boils down to Corman and writer Charles B. Griffith drunkenly spit-balling ideas until Griffith was like, “How about a man-eating plant?”

    click to enlarge

    Kiara Caridad as Chiffon, Sarah Sachi as Ronnette, and Simone Gundy as Crystal in Little Shop of Horrors.

    Photo by Melissa Taylor

    Yes, how about a man-eating plant? Menken and Ashman eventually got their talented hands on the material, with Little Shop of Horrors opening off-off-Broadway back in 1982. Since then, Audrey II and co. have made their way to Broadway proper, the West End, and the big screen, as well as multiple revivals, tours, and local productions. There was also a short-lived Fox Kids cartoon that probably wouldn’t have seen the light of day without the success of the musical and its subsequent film adaptation.

    It’s not hard to see why the musical has had so much success over the years, but if you want a prime example, head over to the Hobby Center ASAP because you won’t find a more perfect production of Little Shop of Horrors than what’s over at Theatre Under the Stars right now. Director Melissa Rain Anderson’s production leans right into the campy absurdity and humor, and it moves at lightning speed. Seriously, it’s blink and you’ll be wishing you could turn the clock back two hours to watch it again.

    Alan Menken’s score, here under the skillful direction of Dr. John Cornelius, is rooted in 1960s pop, overwhelmingly upbeat and catchy with plenty of numbers you might find yourself humming on the way home. Kiara Caridad, Simone Gundy, and Sarah Sachi provide the production’s vocal through line as a Greek chorus meets Supremes-style girl group. The vocally gifted trio narrate, provide a bit of commentary, and egg on the characters just a bit through their lush harmonies and soulful deliveries in songs across the production. They set the tone of the show during the “Prologue,” carry the show’s great opener “Downtown (Skid Row)” and add depth to “Dentist.”

    Playing against the music’s bubbly guise is Howard Ashman’s darker lyrics, which are mediated through the performances of the cast – and a knockout cast it is.

    Rob Riordan is flawless as a nerdy loser or, as Mr. Mushnik calls Seymour, a “twerp of a klutz.” He is sweetly downtrodden and oh-so-easy to root for, as is Mary Kate Moore’s low-self-esteem-having Audrey. Moore is earnest and vulnerable, and delivers a memorably wistful rendition of “Somewhere That’s Green.”

    On the other end of the spectrum, Dan De Luca brings a superbly unhinged energy to show as semi-sadist Dr. Orin Scrivello D.D.S., complete with a drawn-out, exhaled delivery of all his lines and an insane, nitrous oxide-induced insane.

    click to enlarge

    Mark Ivy as Mr. Mushnik and Rob Riordan as Seymour in Little Shop of Horrors.

    Photo by Melissa Taylor

    Mark Ivy’s Mushnik is over-the-top and scheming, which all culminates in the terribly fun “Mushnik and Son.” It, of course, includes the “Mushnik and Son” tango, brilliantly imagined by choreographer Monica Josette and executed to perfection by Ivy and Riordan. Josette nailed every bit of movement in the musical, from Caridad, Gundy, and Sachi’s synched up moves to a conga line here, and a shimmy there.

    As it is meant to be, Audrey II is a scene-stealer. From little bud that adorably tries to bite and seems to bop along to the music to growing menace that slowly overruns the florist shop, Audrey II (precisely manipulated by Turell Robins) steals focus from the get – and it gets even better when the plant talks. Voiced by Dion Simmons Grier, the plant is whiny and demanding, disturbingly sensual, and, in short, the worst little devil to have on your shoulder.

    The action all plays out on a rotating set by Paul Wonsek (with additional designs by Ryan McGettigan). It sits against a backdrop of tenement buildings with the perfect amount of urban decay – broken out and boarded up windows, ratty posters, and folks sleeping on the streets. Slotting perfectly into Wonsek’s world are Colleen Grady’s clear-eyed costumes, from Seymour’s little sweater vest to Orin’s leather chest harness. And it’s all lit by John Spencer’s always attention-grabbing, sometimes psychedelic designs.

    One thing that helps any show is the audience, and I have to say that last night’s audience was along for every second of the ride. They were quick to laugh, quick to applaud, and clearly there to have a good time. And that’s exactly what Theatre Under the Stars gave us – a great time.

    Performances will continue at 7:30 p.m. Tuesdays through Thursdays and Sunday, 8 p.m. Fridays and Saturdays, and 2 p.m. Saturdays and Sundays through November 3 at the Hobby Center for the Performing Arts, 800 Bagby. For more information, call 713-558-8801 or visit tuts.com. $34.50-$138.50.

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    Natalie de la Garza

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  • Maybe You Shouldn’t Watch Horror Movies While High

    Maybe You Shouldn’t Watch Horror Movies While High

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    Halloween is a great time of year for tricks and treats…but if a little marijuana is your treat, maybe you should watch true horror movies.

    October is the month of Halloween and horror movies. Movie marathons and film festivals abound along with special screenings in movie theaters. But, it might not be the thing for growing mainstream who are embracing cannabis.  Maybe you shouldn’t watch horror movies while high. Horror is the fastest-rising film genre, having doubled market share from 4.87 percent in 2013 to 10.08 percent in 2023, While the Conjuring universe, Us, Talk to Me and more might grab the imagination, the effects of marijuana on the mind might give you pause.

    The first horror movie is widely believed to be the 1896 short film Le Manoir du Diable, The House of the Devil. This 3-minute short film was created by French filmmaker Georges Méliès, who is also credited with inventing many filming techniques and tricks.

    Watching horror movies while under the influence of cannabis can lead to a uniquely intense experience, but it often comes with significant drawbacks. Here are several reasons why you might want to reconsider this combination.

    The Shining

    Cannabis can amplify feelings of anxiety and paranoia, which are already prevalent in horror films. The suspenseful music, sudden scares, and disturbing imagery can become overwhelming when paired with the psychoactive effects of marijuana. Many viewers report a heightened state of awareness which can transform a thrilling scare into a panic-inducing moment, making the experience far from enjoyable.

    When stoned, perception of reality can shift dramatically. Horror movies often blur the lines between fiction and reality. Under the influence, this distortion can feel even more pronounced. This heightened sense of immersion might lead to confusion or fear of what is happening on screen could somehow affect you in real life. For instance, films like The Thing and Hellraiser are particularly noted for their ability to evoke intense feelings of claustrophobia and dread, which can spiral into a bad trip when viewed while high.

    Certain horror films are notorious for inducing “bad trips,” especially for those who may already be predisposed to anxiety or have had negative experiences with substances. Movies that delve into psychological horror or body horror—like Tusk or The Trip—can trigger distressing thoughts or feelings that linger long after the film ends. Experts advise avoiding these films if you’re not in a stable mental state.

    There is a case for a few exceptions. Comedy or old school horror can be fun. The original Frankenstein or Young Frankenstein can be great. Some of the 1970s sexy campy horror can be enjoyable and interesting.   Also, Scary Movie, The Cabin in the Woods, Trolls, Little Shop of Horrors.

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    Anthony Washington

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  • Roger Corman, Hollywood mentor and ‘King of the Bs,’ has died at age 98

    Roger Corman, Hollywood mentor and ‘King of the Bs,’ has died at age 98

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    Roger Corman, the Oscar-winning “King of the Bs” who helped turn out such low-budget classics as “Little Shop of Horrors” and “Attack of the Crab Monsters” and gave many of Hollywood’s most famous actors and directors early breaks, has died. He was 98.Corman died Thursday at his home in Santa Monica, California, his daughter Catherine Corman said Saturday in a statement.Related video above: Remembering those we’ve lost in 2024“He was generous, open-hearted and kind to all those who knew him,” the statement said. “When asked how he would like to be remembered, he said, ‘I was a filmmaker, just that.’”Starting in 1955, Corman helped create hundreds of films as a producer and director, among them “Black Scorpion,” “Bucket of Blood” and “Bloody Mama.” A remarkable judge of talent, he hired such aspiring filmmakers as Francis Ford Coppola, Ron Howard, James Cameron and Martin Scorsese. In 2009, Corman received an honorary Academy Award.“There are many constraints connected with working on a low budget, but at the same time there are certain opportunities,” Corman said in a 2007 documentary about Val Lewton, the 1940s director of “Cat People” and other underground classics.“You can gamble a little bit more. You can experiment. You have to find a more creative way to solve a problem or to present a concept.”The roots of Hollywood’s golden age in the 1970s can be found in Corman’s films. Jack Nicholson made his film debut as the title character in a 1958 Corman quickie, “The Cry Baby Killer,” and stayed with the company for biker, horror and action films, writing and producing some of them. Other actors whose careers began in Corman movies included Robert De Niro, Bruce Dern and Ellen Burstyn. Peter Fonda’s appearance in “The Wild Angels” was a precursor to his own landmark biker movie “Easy Rider,” co-starring Nicholson and fellow Corman alumnus Dennis Hopper. “Boxcar Bertha,” starring Barbara Hershey and David Carradine, was an early film by Scorsese.Corman’s directors were given minuscule budgets and often told to finish their films in as little as five days. When Howard, who would go on to win a best director Oscar for “A Beautiful Mind,” pleaded for an extra half day to reshoot a scene in 1977 for “Grand Theft Auto,” Corman told him, “Ron, you can come back if you want, but nobody else will be there.”Initially only drive-ins and specialty theaters would book Corman films, but as teenagers began turning out, national chains gave in. Corman’s pictures were open for their time about sex and drugs, such as his 1967 release “The Trip,” an explicit story about LSD written by Nicholson and starring Fonda and Hopper.Meanwhile, he discovered a lucrative sideline releasing prestige foreign films in the United States, among them Ingmar Bergman’s “Cries and Whispers,” Federico Fellini’s “Amarcord” and Volker Schlondorff’s “The Tin Drum.” The latter two won Oscars for best foreign language film.Corman got his start as a messenger boy for Twentieth Century-Fox, eventually graduating to story analyst. After quitting the business briefly to study English literature for a term at Oxford, he returned to Hollywood and launched his career as a movie producer and director.Despite his penny-pinching ways, Corman retained good relations with his directors, boasting that he never fired one because, “I wouldn’t want to inflict that humiliation.”Some of his former underlings repaid his kindness years later. Coppola cast him in “The Godfather, Part II,” Jonathan Demme included him in “The Silence of the Lambs” and “Philadelphia” and Howard gave him a part in “Apollo 13.”Most of Corman’s movies were quickly forgotten by all but die-hard fans. A rare exception was 1960’s “Little Shop of Horrors,” which starred a bloodthirsty plant that feasted on humans and featured Nicholson in a small but memorable role as a pain-loving dental patient. It inspired a long-lasting stage musical and a 1986 musical adaptation starring Steve Martin, Bill Murray and John Candy.In 1963, Corman initiated a series of films based on the works of Edgar Allan Poe. The most notable was “The Raven,” which teamed Nicholson with veteran horror stars Boris Karloff, Peter Lorre and Basil Rathbone. Directed by Corman on a rare three-week schedule, the horror spoof won good reviews, a rarity for his films. Another Poe adaptation, “House of Usher,” was deemed worthy of preservation by the Library of Congress.Near the end of his life, Karloff starred in another Corman-backed effort, the 1968 thriller “Targets,” which marked Peter Bogdanovich’s directorial debut.Corman’s success prompted offers from major studios, and he directed “The St. Valentine’s Day Massacre” and “Von Richthofen and Brown” on normal budgets. Both were disappointments, however, and he blamed their failure on front-office interference.Roger William Corman was born in Detroit and raised in Beverly Hills, but “not in the affluent section,” he once said. He attended Stanford University, earning a degree in engineering, and arrived in Hollywood after three years in the Navy.After his stint at Oxford, he worked as a television stagehand and literary agent before finding his life’s work.In 1964 he married Julie Halloran, a UCLA graduate who also became a producer.___This obituary was written by the late Associated Press reporter Bob Thomas, who died in 2014.

    LOS ANGELES —

    Roger Corman, the Oscar-winning “King of the Bs” who helped turn out such low-budget classics as “Little Shop of Horrors” and “Attack of the Crab Monsters” and gave many of Hollywood’s most famous actors and directors early breaks, has died. He was 98.

    Corman died Thursday at his home in Santa Monica, California, his daughter Catherine Corman said Saturday in a statement.

    Related video above: Remembering those we’ve lost in 2024

    “He was generous, open-hearted and kind to all those who knew him,” the statement said. “When asked how he would like to be remembered, he said, ‘I was a filmmaker, just that.’”

    Starting in 1955, Corman helped create hundreds of films as a producer and director, among them “Black Scorpion,” “Bucket of Blood” and “Bloody Mama.” A remarkable judge of talent, he hired such aspiring filmmakers as Francis Ford Coppola, Ron Howard, James Cameron and Martin Scorsese. In 2009, Corman received an honorary Academy Award.

    “There are many constraints connected with working on a low budget, but at the same time there are certain opportunities,” Corman said in a 2007 documentary about Val Lewton, the 1940s director of “Cat People” and other underground classics.

    “You can gamble a little bit more. You can experiment. You have to find a more creative way to solve a problem or to present a concept.”

    Stephane Cardinale – Corbis

    Roger Corman presented The Grand Prix Award during the closing ceremony during the 76th annual Cannes film festival at Palais des Festivals on May 27, 2023 in Cannes, France. (Photo by Stephane Cardinale – Corbis/Corbis via Getty Images)

    The roots of Hollywood’s golden age in the 1970s can be found in Corman’s films. Jack Nicholson made his film debut as the title character in a 1958 Corman quickie, “The Cry Baby Killer,” and stayed with the company for biker, horror and action films, writing and producing some of them. Other actors whose careers began in Corman movies included Robert De Niro, Bruce Dern and Ellen Burstyn. Peter Fonda’s appearance in “The Wild Angels” was a precursor to his own landmark biker movie “Easy Rider,” co-starring Nicholson and fellow Corman alumnus Dennis Hopper. “Boxcar Bertha,” starring Barbara Hershey and David Carradine, was an early film by Scorsese.

    Corman’s directors were given minuscule budgets and often told to finish their films in as little as five days. When Howard, who would go on to win a best director Oscar for “A Beautiful Mind,” pleaded for an extra half day to reshoot a scene in 1977 for “Grand Theft Auto,” Corman told him, “Ron, you can come back if you want, but nobody else will be there.”

    Initially only drive-ins and specialty theaters would book Corman films, but as teenagers began turning out, national chains gave in. Corman’s pictures were open for their time about sex and drugs, such as his 1967 release “The Trip,” an explicit story about LSD written by Nicholson and starring Fonda and Hopper.

    Meanwhile, he discovered a lucrative sideline releasing prestige foreign films in the United States, among them Ingmar Bergman’s “Cries and Whispers,” Federico Fellini’s “Amarcord” and Volker Schlondorff’s “The Tin Drum.” The latter two won Oscars for best foreign language film.

    Corman got his start as a messenger boy for Twentieth Century-Fox, eventually graduating to story analyst. After quitting the business briefly to study English literature for a term at Oxford, he returned to Hollywood and launched his career as a movie producer and director.

    Despite his penny-pinching ways, Corman retained good relations with his directors, boasting that he never fired one because, “I wouldn’t want to inflict that humiliation.”

    Some of his former underlings repaid his kindness years later. Coppola cast him in “The Godfather, Part II,” Jonathan Demme included him in “The Silence of the Lambs” and “Philadelphia” and Howard gave him a part in “Apollo 13.”

    Most of Corman’s movies were quickly forgotten by all but die-hard fans. A rare exception was 1960’s “Little Shop of Horrors,” which starred a bloodthirsty plant that feasted on humans and featured Nicholson in a small but memorable role as a pain-loving dental patient. It inspired a long-lasting stage musical and a 1986 musical adaptation starring Steve Martin, Bill Murray and John Candy.

    In 1963, Corman initiated a series of films based on the works of Edgar Allan Poe. The most notable was “The Raven,” which teamed Nicholson with veteran horror stars Boris Karloff, Peter Lorre and Basil Rathbone. Directed by Corman on a rare three-week schedule, the horror spoof won good reviews, a rarity for his films. Another Poe adaptation, “House of Usher,” was deemed worthy of preservation by the Library of Congress.

    Near the end of his life, Karloff starred in another Corman-backed effort, the 1968 thriller “Targets,” which marked Peter Bogdanovich’s directorial debut.

    Corman’s success prompted offers from major studios, and he directed “The St. Valentine’s Day Massacre” and “Von Richthofen and Brown” on normal budgets. Both were disappointments, however, and he blamed their failure on front-office interference.

    Roger William Corman was born in Detroit and raised in Beverly Hills, but “not in the affluent section,” he once said. He attended Stanford University, earning a degree in engineering, and arrived in Hollywood after three years in the Navy.

    After his stint at Oxford, he worked as a television stagehand and literary agent before finding his life’s work.

    In 1964 he married Julie Halloran, a UCLA graduate who also became a producer.

    ___

    This obituary was written by the late Associated Press reporter Bob Thomas, who died in 2014.

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  • Little Shop of Horrors’ Reboot May Finally Sprout to Life

    Little Shop of Horrors’ Reboot May Finally Sprout to Life

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    Image: Warner Bros.

    Hollywood’s been trying for years now to revive Little Shop of Horrors for a new cinematic audience. Last we heard, Arrowverse head Greg Berlanti was going to try his hand at it with Billy Porter and maybe Chris Evans. That version ultimately got scrapped in 2022, but Hollywood’s angling to try and grow a new version of the beloved film yet again.

    Ben Schwartz on Balancing Scripted Comedy and Improv in Renfield | io9 Interview

    As reported by Deadline, the horror-comedy film is being rebooted, with Gremlins director Joe Dante at the helm and Roger Corman (who directed the original 1960 film) on hand as a co-producer. The twist? It’s a reimagining dubbed Little Shop of Halloween Horrors that’s also being intended as the kickstart to a new movie franchise. Dante will be working off a script written by Charles S. Haas (Gremlins 2).

    The original Little Shop of Horrors, and its more popular 1986 musical, centered on a florist named Seymour who discovers a Venus flytrap-looking plant he eventually names Audrey Jr. (or Audrey II in the musical). The plant manages to convince Seymour to keep feeding it people, and things quickly spiral out of control from there. At time of writing, it sounds like that’ll still be the general premise of this new movie, give or take some Halloween-specific plot elements. What’s not clear is if it’ll play as a straight horror-comedy like the original or do like the 1986 movie and take the musical route.

    Until the new version comes out, you can watch the previous Little Shop of Horrors movies on services like Prime Video. And if you’ve got Max, you can watch the “Little Rock of Horrors” episode of Billy & Mandy. It’s short, but it’s still pretty great!

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • Steve Martin Contests Allegation From Former Co-Star And Denies ‘Any Physical Contact’

    Steve Martin Contests Allegation From Former Co-Star And Denies ‘Any Physical Contact’

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    Steve Martin is adamantly denying physically assaulting a fellow actor while filming.

    Martin was slammed this week as “horrid” by former “Little Shop of Horrors” co-star Miriam Margolyes, who said he “repeatedly punched, slapped” and knocked her down while filming simulated punches and various other stunts.

    “My memory is that we had a good communication as professional actors,” Martin told People on Saturday. “But when it is implied that I harmed her or was in some way careless about doing the stunts, I have to object. I remember taking EXTREME caution.”

    The “Only Murders in the Building” actor told the outlet that Margoyles even told him she was OK after they finished filming that particular scene and claimed director Frank Oz and other crew members were actively attentive to any concerns or issues regarding the simulated acts.

    “There was never any physical contact between me and her, accidental or otherwise, in this scene or any other we shot,” Martin told People, while Oz explained that he purposefully “always” rehearses scenes like this — and didn’t see anything resembling actual violence.

    “The scene was supposed to include a fake punch,” Oz told People in a separate statement Saturday. “It’s puzzling what she’s talking about. It’s not the Steve I know or anyone knows. He’s always been professional and respectful of everyone on all of my shoots.”

    Margolyes previously accused Arnold Schwarzenegger of farting in her face.

    Yui Mok – PA Images via Getty Images

    Margolyes, who recalled the alleged incident from the 1986 musical, remains most famous for her role as Professor Sprout in the “Harry Potter” franchise and as the enthusiastic Spanish Infanta from Britain’s beloved “Blackadder” series.

    “I was hit all day by doors opening in my face; repeatedly punched, slapped and knocked down by an unlovely and unapologetic Steve Martin — perhaps he was method acting — and came home grumpy,” she wrote in her memoir, per The Independent.

    Margolyes most recently accused Arnold Schwarzenegger of farting in her face.

    “He farted in my face,” Margolyes claimed on the “I’ve Got News for You” podcast in July. “Now, I fart, of course I do — but I don’t fart in people’s faces. He did it deliberately, right in my face … I can’t remember the date, but it was during the filming of ‘End of Days.’”

    “I was playing Satan’s sister, and he was killing me,” she added through laughter. “So he had me in a position where I couldn’t escape and lying on the floor, and he just farted. It wasn’t on film; it was on one of the pauses, and I haven’t forgiven him for it.”

    Her memoir, “Oh Miriam: Stories from an Extraordinary Life,” hits shelves in 2024.

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