Overview
Synopsis
Little Shop of Horrors is a gleefully macabre sci-fi horror musical, powered by Alan Menken and Howard Ashman’s infectious 1960s-style pop, rock, and Motown score.
Seymour Krelborn, a shy and awkward assistant at a failing flower shop on Skid Row, stumbles upon a strange, exotic plant after a mysterious total eclipse of the sun. He names it “Audrey II” in honor of his kind-hearted co-worker and secret crush, Audrey. To his shock, the plant begins to speak—smooth, sassy, and soulful—and reveals a disturbing appetite for fresh human blood.
As Seymour’s small offerings help Audrey II grow to monstrous proportions, his life transforms. The shop thrives, the media takes notice, and romance seems possible. But the price of success is steep: the plant’s demands escalate from drops of blood to full human meals.
When Seymour discovers Audrey II’s alien origins and diabolical plan for world domination, he must decide whether to stop the plant—or become just another victim in its leafy path to conquest.
Show Information
Context
Little Shop of Horrors began its theatrical life on May 6, 1982, as a workshop production at the Players’ Art Theatre in New York. Just a few months later, on July 27, it officially opened Off-Broadway at the Orpheum Theatre in the East Village. Although the production received offers to move to a Broadway house, director Howard Ashman—who also wrote the show’s book and lyrics—insisted that the quirky, intimate nature of the musical was better suited to the Off-Broadway scene. His instincts
to read the context for Little Shop of Horrors and to unlock other amazing theatre resources!Plot
Prologue
An omnipotent voice describes a horrible threat to mankind that has appeared in the unlikeliest of places. Crystal, Ronnette, and Chiffon enter to warn the audience of the perils that await them at the local florist’s (“Little Shop of Horrors”).
Act One
The scene opens on Mushnik’s Skid Row Florists shop. At 10 a.m. sharp a crash is heard in the back room. Seymour attempts to assure Mushnik that he hasn’t broken anything. One hour later Audrey, Mushnik’s quirky blonde
to read the plot for Little Shop of Horrors and to unlock other amazing theatre resources!Characters
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Interactive Character Map
Visualize how the characters in Little Shop of Horrors connect and drive the story.
Understand the relationships that shape the story of Little Shop of Horrors
- See how characters connect at a glance
- Explore alliances, conflicts, and dynamics
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Character Portrayals
See StageAgent members who have performed roles in Little Shop of Horrors.
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Monologues
Songs
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A song with an asterisk (*) before the title indicates a dance number.
Themes, Symbols & Motifs
Themes
Ambition and Moral Compromise Seymour’s journey is a cautionary tale about how far someone will go to achieve love, fame, and security. His initial motives—saving the shop, winning Audrey’s affection—are sympathetic, but his willingness to feed Audrey II’s appetite shows how ambition can erode moral boundaries.
Consumerism and the American Dream The 1960s setting underscores a cultural obsession with upward mobility and material gain. Audrey dreams of “Somewhere That’s
to read about the themes, symbols and motifs from Little Shop of Horrors and to unlock other amazing theatre resources!Quote Analysis
1. “Feed me, Seymour!” – Audrey II
This is the plant’s most famous demand, delivered with both urgency and sly persuasion. On the surface, it’s a comedic line, but it encapsulates the central conflict of the show: temptation and moral compromise. Each time Audrey II says it, Seymour is pressured to cross a new ethical line. The repetition throughout the musical turns it into a mantra of greed, mirroring the insistent pull of desire that can’t be satisfied.
**2. “Somewhere that’s green.” –
to read our analysis of select quotes from Little Shop of Horrors and to unlock other amazing theatre resources!Director Insights
Directorial Vision
Little Shop of Horrors is often approached as a lighthearted camp classic, but its real theatrical engine is a Faustian tragedy wrapped in a brightly colored 1960s B-movie homage. The show works best when directors treat the stakes on Skid Row as deadly serious while letting the genre musical tropes generate the comedy.
The central dramatic question driving your production should be: how far will a desperate, marginalized person go when handed the keys to their dreams at a terrible cost? Seymour and Audrey are not caricatures; they are trapped in systemic poverty and emotional isolation. If the production leans too heavily into cartoon satire from the opening number, the moral decline in Act II loses its bite. Establish genuine human vulnerability early. The absurdity of a man-eating plant becomes far more compelling—and surprisingly disturbing—when rooted in
to read the director insights for Little Shop of Horrors and to unlock other amazing theatre resources!Discussion Questions
Big Question
How far should society allow the desire for fame and media spectacle to distort the search for truth and justice?
Discussion Questions
- In the opening number, "All That Jazz," Velma Kelly welcomes the audience into the world of 1920s Chicago. How does the musical's setting and style immediately establish a world where crime and entertainment are blended together?
- Roxie Hart initially claims she shot Fred Casely because he was a burglar, but the truth quickly comes out. What drives Roxie to commit the murder, and how does her motivation change once she realizes she can turn her trial into a public sensation?
- Billy Flynn boasts that he can get anyone acquitted as long as he can put on a good show. What strategies does he use to manipulate the press and jury, and why are those strategies so effective on the public?
- How does Matron "Mama" Morton's concept of "reciprocity" function in the Cook County Jail? Is she purely corrupt, or is she simply playing by the rules of the system she operates in?
- Compare Roxie Hart and Velma Kelly's attitudes toward fame. How does their fierce rivalry shape their choices, and why do they ultimately decide to team up at the end of the show?
- Amos Hart is often seen as the only moral character in the musical. Why do the other characters—and the press—consistently ignore or take advantage of him, and what does his song "Mr. Cellophane" express about his place in this world?
- The song "Cell Block Tango" gives the murderesses a platform to tell their side of the story. How do their arguments challenge traditional ideas about guilt, innocence, and revenge?
- Throughout the musical, the media is portrayed as easily distracted and eager for scandal. What commentary does the show make about the public's appetite for sensational news stories over real facts?
- Mary Sunshine represents the sensationalist journalism of the era. How does her reveal late in the show alter our understanding of the press and the narrative Billy Flynn constructed?
- Despite committing cold-blooded crimes, Roxie and Velma become celebrities and fan favorites. Why does the show encourage the audience to root for antiheroes who suffer virtually no consequences for their actions?
- Chicago was written in the 1970s and set in the 1920s, yet its satire of celebrity culture remains relevant today. In what ways do modern social media and true-crime fascination reflect the same themes explored in the show?
- Have you ever seen a real-life public figure or news event transformed into entertainment? How did that situation affect your perception of the truth, and did it change how you viewed the people involved?
Key Terms
A group of performers who comment on the action, originating in Ancient Greek theatre.
The clarity and articulation of speech by an actor or singer, critical for conveying emotion and meaning on stage.
A vocal music style with tight harmonies that appears in musical theatre portraying 1950s and 60s American pop culture.
A Faustian bargain is a deal in which a person sacrifices moral integrity, values, or even their soul in exchange for power, knowledge, success, or another form of personal gain. The term comes from the German legend of Faust, who sold his soul to the devil for unlimited knowledge and pleasure. In theatre and literature, this concept often explores themes of temptation, ambition, and the consequences of greed. An example is Seymour in Little Shop of Horrors, who agrees to feed Audrey II in exchange for fame and love.
A group in Ancient Greek theatre that commented on the action, represented the public, and provided narrative insight.
A recurring element, such as a symbol, image, or phrase, that reinforces a play’s themes. Motifs help unify the structure of a work and deepen its symbolic meaning.
Motown refers to a style of popular music that emerged in Detroit in the 1960s, blending elements of soul, rhythm and blues, and pop. Known for its polished sound and infectious rhythms, Motown launched the careers of legendary artists such as Diana Ross, Stevie Wonder, and Marvin Gaye. In theatre and film, Motown often symbolizes cultural pride, crossover success, and the power of Black artistry.
An introductory speech or scene that sets up the context or themes of a play. Prologues are commonly used in classical drama to prepare the audience for what follows.
A genre of popular music that has influenced musical theatre, especially in shows highlighting African-American culture.
