Little Shop of Horrors at Northern Stage Review
Written by Grace for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
This production of Little Shop of Horrors is a shining example of what happens when strong direction, effective staging and an exceptionally talented cast come together. From the moment the audience enters the theatre, the world of Skid Row is vividly established. The set is packed with small but effective details: rusted bins, worn street lamps and old posters, which immediately create a gritty, believable environment. Even the pre-show announcement cleverly sets the tone, drawing the audience into the production’s playful and slightly chaotic atmosphere before the story even begins.
The staging throughout is immaculate. Lighting is used effectively to guide the audience’s attention, ensuring that each scene’s focus is clear whilst still allowing the whole stage world to feel alive. One particularly engaging element is how the music is integrated into the performance. Several members of the cast play instruments on stage, creating the music in real time alongside the action. Meanwhile, the rest of the band is positioned upstairs at the back of the theatre, visible enough to notice without distracting from the stage. This combination makes the music feel organic and present, adding a unique intimacy to the performance.
Vocally, the cast is outstanding across the board. Kristian Cunningham delivers a wonderfully sincere and precise Seymour, capturing both the character’s awkward charm and emotional vulnerability. Opposite him, Amena El-Kindy gives a heartfelt and vocally stunning performance as Audrey, bringing warmth and sincerity to every moment.
Jon Bonner’s Mr Mushnik is full of character and humour, perfectly balancing the role’s comedic and dramatic moments. David Rankine brings huge energy to the role of Orin the Dentist, throwing himself fully into the character’s outrageous personality whilst demonstrating impressive versatility in the multiple roles he takes on throughout the show.
The technical achievement of Audrey II is also particularly impressive. Ross Lennon’s puppetry is seamless and convincing, giving the plant a powerful presence on stage, while Tasha Dowd’s voice performance is rich, commanding and full of character.
However, this production is truly elevated by the undeniably talented trio : Emmanuella Chede (Ronnette), Shekinah McFarlane (Crystal) and Chioma Uma (Chiffon). These three are absolute powerhouses. Their vocals are phenomenal, blending effortlessly into tight, seamless harmonies while each performer maintains a distinct presence and personality. They function as the musical heartbeat of the show, guiding the audience through the story with charisma, humour and extraordinary vocal strength. Every time they step forward, the stage lights up.
The ensemble plays a vital role in bringing the world of the production to life. Hannah Woodward, who also serves as Dance Captain, ensures the choreography is energetic, polished and full of character, while fellow ensemble members, including Wilf Stone, contribute to the dynamic movement and atmosphere that keeps the stage constantly engaging.
One small thing to mention is the subtitles that are projected onto the set during the show. I have never seen this happen before and it is an asset that I believe should be introduced into many other shows! It was useful and engaging when you needed them, however not distracting from those authentic and intimate moments of the show.
Every element—from choreography and costumes to comedic timing—feels carefully rehearsed and thoughtfully executed. The humour lands brilliantly, with classic comedic techniques used to great effect, and the overall direction feels tasteful and confident.
This production feels polished, vibrant and incredibly well coordinated.
Honestly, if I were to see this show on Broadway, it would feel completely at home there. A truly outstanding performance and a thoroughly deserved five stars.
★ ★ ★ ★ ★
