Photo Courtesy of Christian Yost
It’s not every day a plant becomes the star of a show, but in this year’s production of Little Shop of Horrors, the biggest personality on stage had roots. Originally written by Howard Ashman with music by Alan Menken, Little Shop of Horrors is a dark comedy musical that follows Seymour, a struggling florist who discovers a mysterious plant with a dangerous appetite. Set in a flower shop in Skid Row, New York City, in the early 1960s, the story follows Seymour as his unusual plant, Audrey Two, brings him unexpected success, along with serious consequences. Through standout vocal performances, creative staging, lively acting, and an outstanding orchestra pit and technical crew, Hastings High School’s production stands out as one of the school’s most entertaining performances within recent years.
Despite having a smaller cast than past productions, Hastings High School’s cast of 14 successfully keeps the musical feeling energetic and full throughout the performance. Lead roles were Seymour (Junior Silas Haynes), Audrey (Sophomore Arabella Limper), Ms. Mushnik (Senior Maecie Pfiel), Orin (Senior Ezekiel Verhage), and Audrey Two (voiced by Sophomore Akkadian Jorgensen and puppeteered by Junior Rigoberto Castro). The show opens with the lively “Prologue/Little Shop of Horrors,” led by the Urchins—Crystal (Freshman Monroe Runcie), Chiffon (Sophomore Olivia Canady), and Ronnette (Junior Gavin Nelson)—who act as a “Greek chorus” throughout the musical. Their strong, sassy vocals and high energy immediately set the stage for the rest of the story to come.
The musical numbers in Little Shop of Horrors play a major role in building both the energy and emotion of the production, and Hastings High School’s cast executes them well. Songs such as “Skid Row (Downtown)” and “Grow For Me” effectively capture Seymour’s desperation and ambition, while also allowing Silas Haynes to portray the character’s awkwardness and vulnerability in a convincing way. Arabella Limper stands out during “Somewhere That’s Green,” using strong, resonant vocals and emotional delivery to emphasize Audrey’s dreams of escaping Skid Row and finding a better life. The transition into “Git It” marks a dramatic yet catchy shift in the tone of the musical, and the powerful vocals paired with growing intensity of the scene make it one of the most memorable moments of the production. Together, these numbers help balance the musical’s humor and darker themes while keeping the audience engaged in Seymour’s increasingly dangerous situation.
As the story continues, Audrey Two’s rapid growth raises the stakes both musically and visually, as seen in “Closed for Renovation,” where the upbeat energy of the number contrasts with the increasingly unsettling situation inside the shop. Mushnik’s push for major renovations reflects the shop’s sudden success, but it also focuses on the growing tension between characters, especially as Seymour struggles with his loyalty to Mushnik and his feelings for Audrey. The tone shifts more sharply during Orin’s scenes, where his exaggerated performance in “Now (It’s Just the Gas)” blends dark comedy with discomfort, making his downfall both shocking and oddly theatrical. Seymour’s decision to feed Orin to Audrey Two marks a disturbing turning point, and the visual impact of the plant’s growth reinforces just how far the situation has escalated.
In Act Two, the production fully embraces the chaos and darker tone of the musical as the flower shop thrives under the name “Mushnik and Son.” Musical numbers such as “Call Back in the Morning” effectively capture the fast-paced excitement of Seymour’s sudden fame, while also showcasing the cast’s strong ensemble energy on stage. “Suddenly Seymour” stands out as one of the most emotionally powerful moments of the production, with Silas Haynes and Arabella Limper delivering heartfelt vocals that make Seymour and Audrey’s relationship feel genuine and believable. As Seymour becomes increasingly consumed by Audrey Two’s demands, the musical shifts from comedic to unsettling, and the cast handles that tonal change effectively with soulful and manipulative lyrics that demand Seymour to feed Audrey Two more humans. This contrast between humor, romance, and horror keeps the audience invested while emphasizing the consequences of Seymour’s growing ambition.
As the plot unfolds, Seymour is forced to confront reality of what Audrey Two really is and what it will take to stop it. Through a darker musical score and an urgent tone from the cast, the production builds toward a dramatic and unsettling conclusion, with the music and lighting design working together to create a growing sense of tension and inevitability. Rather than relying on plot, the final moments use sharp contrasts in mood—moving from earlier humor to a more serious and foreboding atmosphere—to emphasize the consequences of unchecked ambition. The result is a strong and memorable ending that leaves the audience with a clear sense of the musical’s warning about desire and control.
Overall, Hastings High School’s production of Little Shop of Horrors is an impressive and entertaining performance, which successfully captures the musical’s unique blend of humor and dark storytelling. With its balance of comedy, emotion, and striking moments, this year’s musical production is easily 5 out of 5 stars, and it surely stands out as one of the more memorable performances for Hastings High School.
