By Ace Caguioa
LA MIRADA, CA — What’s not to love about Little Shop of Horrors? On paper, it is a story about murder, manipulation, questionable life choices, and a giant carnivorous plant with an increasingly disturbing appetite. And yet, somehow, it remains one of the most ridiculously fun musicals to watch.
Most of my familiarity with Little Shop of Horrors comes from the movie, and while I have always enjoyed the story and its music, it had actually been a while since I revisited it. That made seeing this production almost feel like rediscovering the musical again. I was practically coming in blind to the stage version. There were songs and moments I remembered immediately and others I had completely forgotten about.
And honestly, I had so much fun. This was definitely a great opening night for a new season at La Mirada Theatre for the Performing Arts.
One of the things that immediately stood out to me was just how quickly the show moves. Little Shop has a relatively short book, and there really is not much time for the story to slow down. Under Michael Matthews’ direction, everything moves smoothly from one scene to the next. It is funny, campy, dark yet colorful, and incredibly entertaining. It almost felt like every other number was a showstopper.
At the center of the production are Thomas Hobson as Seymour Krelborn and Grace Stockdale as Audrey, and their chemistry on stage is absolutely adorable. From the beginning, you just want these two to figure it out and somehow end up together.
Hobson makes Seymour so likable. There is an awkwardness and sincerity to him that makes the character feel honest. Even as Seymour gets himself deeper and deeper into situations that probably should make you stop rooting for him, I never really did. There is still a sense of morality underneath everything, and Hobson manages to keep Seymour sympathetic throughout the show.
Stockdale, on the other hand, was the absolute standout of the evening for me. She has such a powerful singing voice, easily one of my favorite voices in the entire production. But beyond that, she brings something very genuine to Audrey. Yes, the voice and mannerisms are exaggerated, and much of the character is played for comedy, but underneath all of that is someone who simply wants to be loved, appreciated, and given the chance at a better life. After everything Audrey has been through, you just want her to finally get her happy ending.
That is also what makes Stockdale and Hobson so charming together on stage. They are two awkward people who clearly care about each other but have absolutely no idea what to do about it. Their relationship never feels forced, and watching them stumble their way toward one another becomes one of the sweetest parts of the show.
Of course, I have to talk about Crystal, Ronnette, and Chiffon.
They have always been some of my favorite characters in Little Shop of Horrors, and that absolutely remained true here. Joslynn Cortes, Janaya Mahealani Jones, and Marisa Moenho are such a fantastic trio, and I enjoyed every single one of their numbers.
I have always thought of them almost like the Greek muses of Little Shop. They appear throughout the story, help move everything forward, react to what is happening, and somehow always seem to know more than everyone else on stage. Every time the three of them appeared, I knew I was about to get hit with another gorgeous wall of harmonies.
Clarice Ordaz’s choreography makes the trio even more effective as storytellers. Their movement feels just as much a part of the narrative as their singing, allowing them to weave in and out of scenes while maintaining that almost all-knowing presence over the story. Between the choreography, their personalities, and those harmonies, they were easily some of my favorite performers to watch throughout the night.
And then, of course, there is Audrey II. It is probably impossible to stage Little Shop of Horrors without everyone waiting to see how you are going to pull off the plant, and this production does not disappoint.
Wilkie Ferguson III provides the voice of Audrey II, with Betsy Zajko as the puppeteer, and together they make the plant feel like an actual character rather than simply a giant puppet sitting on stage. Audrey II commands your attention almost immediately, and that only grows along with the plant itself.
The puppetry is incredibly smooth. There were moments when I stopped thinking about the mechanics behind Audrey II altogether because the character simply felt alive. And once Audrey II reaches its larger forms, the sheer scale of the plant becomes almost intimidating. It completely dominates the stage, exactly as Audrey II should.
The rest of the production looks just as amazing. One of my favorite things about the scenic design was its almost animated, comic-book quality. The colors, shapes, and overall look of Skid Row have this heightened quality that works perfectly for Little Shop. It does not need to look completely realistic because, really, nothing about this story is particularly realistic to begin with.
I have always enjoyed the sets at La Mirada, and this is another production that continues that streak. Steven Young’s lighting helps bring that colorful, exaggerated world to life, while the costumes, coordinated by Adam Ramirez, fit perfectly within the show’s heightened style. Between the scenery, lighting, costumes, staging, and Audrey II itself, everything comes together into this colorful and wonderfully strange little world.
That visual style also fits perfectly with the tone of the show. Despite everything that actually happens in Little Shop of Horrors, I have never really thought of it as a horror musical, at least not in the traditional sense. It is far too funny and campy for that.
And that is probably part of why it remains so entertaining.
There is something objectively ridiculous about watching Seymour’s life completely change because of a singing plant with an appetite for blood, but the show commits so completely to its own weirdness that you willingly suspend any sense of disbelief and just go along for the ride. There are plenty of dark moments, but they are surrounded by so much comedy that the production never stops being fun.
It also reminded me just how much I enjoy the music of Howard Ashman and Alan Menken. I have always loved their work, particularly everything they would eventually bring to Disney, and you can hear so much of what makes their partnership special throughout Little Shop. The songs are catchy, funny, full of personality, and constantly moving the story forward.
By the time the show ended, I realized I had pretty much been smiling through most of it. And mind you, this was after a long day of training for a half marathon. (Yes, that was an odd flex.)
I have seen quite a few productions at La Mirada at this point, and Little Shop of Horrors has easily become one of my favorites. So much so that I am already planning to buy another set of tickets and see it again before the show closes.
Just be careful what you feed the plants.
Janaya Mahealani Jones, Joslynn Cortes and Marisa Moenho star in the La Mirada Theatre for the Performing Arts/McCoy Rigby Entertainment production of “LITTLE SHOP OF HORRORS,” directed by Michael Matthews and now playing at La Mirada Theatre for the Performing Arts.
Performance Details
Dates
Now through October 11, 2026
Times
Thursdays at 7:30 pm
Fridays at 8 pm
Saturdays at 2 pm & 8 pm
Sundays at 1:30 pm & 6:30 pm
Content
Recommended for ages 7 & up
Children under age 3 will not be admitted into the theatre
Special Performances
Cast and Creative Team Talkbacks:
Thursday, September 24 at 7:30 pm
Thursday, October 8 at 7:30 pm
Open-Captioned Performance:
Saturday, October 3 at 2 pm
Tickets
Tickets range from $28–$115 and are subject to change.
Purchase online through La Mirada Theatre or call the Box Office at (562) 944-9801 or (714) 994-6310.
Group, student, La Mirada resident, and military discounts are available.
Location
La Mirada Theatre for the Performing Arts
14900 La Mirada Blvd.
La Mirada, CA 90638
Parking is free.
Bigger, Better, and Hungrier: Audrey II Takes Over La Mirada
