The significant twist in Street Tempo Theatre’s”darkly reimagined” creation of Howard Ashman and Alan Menken’s Circle send-up of’60s terror is the fact that it takes its own killer plant from outer space way too badly.
You feel you’ve seen Little Shop, correct? You have probably even been engaged in a manufacturing or two at a certain stage. Maybe you’re familiar with my job.
As well as the plant being feminine, the ominous lead-in narration that opens the series is offered by none other than Hollis Resnik (who originated the use of Audry at the Chicago premiere of Small Shop in Candlelight Dinner Playhouse back in 1986), that proves that this is very much a woman power generation. Girls will overrule the entire world daily, alien plant type or otherwise.
Corman went with a more happy end with his 1960 movie version because the first end tested negative with test audiences. My perception is the end was revived in Phase 773’s rendering since it ought to be: the instant correlation between this musical reincarnation and now’s gossip websites is an allegorical straight line. The whole cast strikes the mark in poetry and song, the creation is all but flawless.
I say”nearly” because there had been instances when I could hardly hear Candace C. Edwards over the home ring – she had been in direct competition with all the combo which should happen to be in tandem with her singing. House acoustics needing mending, but a musical narrative and throw very much deserving of a complete house.