On opposite coasts, two separate productions of the 1982 musical will bring A-list talent to the Faustian—and eternally relevant—story of Seymour, Audrey, and the murderous Audrey II
Meanwhile, in New York City, directorat the Westside Theatre Off-Broadway. “I would say my goal with the production is to honor the brilliance of Howard Ashman as a director. He was an absolutely incredible lyricist and a great writer, but I think people forget sometimes that he was also a phenomenal director. And his original conception for the show is I think part of the reason it has flourished so beautifully over these decades since it first emerged.
“I don’t know what the kismet is with the multiple productions,” Groff says. “I don’t know if it’s just luck, but the more we investigate the material, the more we realize that it’s like a Swiss watch. The writing is so economical and perfect.” But there does seem to be a distinctly current cultural relevance to the black comedy from the Reagan era about the darkness of the American Dream.
“Everyone’s dead,” Donahue says, describing the show’s ending. “Except the WME agents of the world and the NBC execs. They still, at the end of the show, choose to go in and take clippings of this plant. The whole company is singing, ‘Don’t feed the plants,’ but it’s a dare: Knowing all of the dangers and the traps and the evils of this, also knowing all of the things you’re being promised—fame and success and feeling special—I dare you to say yes to that.
Maybe there’s no better metaphor for the entertainment industry than a story about a man who pours his blood into something for the promise of sex and fame—with network executives and agents waiting in the wings and a theater full of people ready to take his place when the man is finally eaten alive.
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