Booked & Scene

On the 7th Day of the Month of June

I headed to Greater Boston Stage Company for the final show of their 25th season, and they’ve chosen one of my all-time favorite musicals to close it out: Little Shop of Horrors. I’ve seen more versions of this show than I can count: high school productions, national tours, outdoor summer stock, off-Broadway, but I can say without hesitation that this production exceeded every single expectation I had going in. It’s also the very first time I’ve stepped foot in Greater Boston Stage Company, and I already know it won’t be the last. This was a Little Shop that didn’t just get it right—it made me fall in love with the show all over again.

Suddenly, Seymour (Is a Star)

Stephen Markarian as Seymour. Wow. I—excuse me. WHAT. This was hands-down some of the most perfect casting I’ve ever seen. Every little shrug, twitch, hesitation, burst of confidence—Stephen crafted a Seymour that felt so specific and alive. There wasn’t a single beat that felt recycled or borrowed. His Seymour was fresh, funny, achingly earnest, and completely his own. I have to shout out the little puffed-up shrugs he gave during “Suddenly, Seymour,” as he tried to step into himself. It’s the kind of detailed performance that makes a character we all know feel brand new. From his first nervous stammer to his final bow, I was hooked.

Skid Row Standouts

Bryan Miner was a delightfully crusty and chaotic Mr. Mushnik. His chemistry with both Stephen and Kayla Shimizu (Audrey) was pitch-perfect. He nailed the line between real and ridiculous, like Statler & Waldorf wandered into Skid Row and opened a flower shop.
The doo-wop trio: Cortlandt Barrett (Chiffon), Becky Bass (Crystal), and Pearl Scott (Ronnette) were electric. Every time they were on stage, I found myself watching them even when they weren’t the focus. They each brought so much personality and flair to the group and still blended beautifully as a unit. Their harmonies were tight, their comedic timing was spot on, and their presence helped the show sparkle.
Kayla Shimizu brought a sweet and sincere energy to Audrey. Her “Somewhere That’s Green” had a lovely balance of wistfulness and hope, and her dynamic with Seymour and Mushnik felt grounded and real—which made the contrast with her scenes opposite Jared Troilo as Orin all the more stark and powerful.

The Many Faces (and One Scream) of Jared Troilo

Let’s be real: Jared Troilo deserves his own musical and if/when that happens I will happily provide all marketing services free of charge to fill the house. I was floored. His Orin was unhinged in all the right ways: horny, horrifying, and hilarious. From straddling the dental chair to licking Seymour’s forehead to making some truly questionable sounds during a dental breakdown, Jared was all in.
But then… he kept going. Jared played at least seven additional characters (maybe more??) and managed to make every single one distinct, outrageous, and fully fleshed out. “The Meek Shall Inherit” became a one-man sketch show, and somehow it worked. Every voice, posture, and gesture was so specific that I never once lost track of who he was supposed to be. Usually, I’d wish a company spread out the ensemble a bit more—but in this case, Jared was, quite literally, the entire ensemble, and he nailed it.

Feed Me That Performance

Anthony Pires Jr. was born to voice Audrey II. His voice was velvety, villainous, and full of swagger. What impressed me most was how much presence he commanded without ever being physically in the scene. It takes real skill to act through a puppet being operated by someone else, and Anthony made it look easy.
Speaking of the puppet—Sydney T. Grant did such fun, expressive work as the puppeteer. The choice to use her feet to manipulate Audrey II’s roots? GENIUS. It was one of those small, sharp choices that feels so right you can’t believe you haven’t seen it done before. Together, Anthony and Sydney brought this man-eating plant to life in a way that felt fresh and dynamic.

The Brains Behind the Bloom

Ilana Ransom Toeplitz directed the hell out of this show. She found the perfect balance of camp, chaos, and character that makes Little Shop sing. This show could easily feel like a copy-paste of what’s been done before, but here, it was packed with little surprises. The trio opening the curtains. The way Seymour’s body language changed as he gained confidence. Jared being a whole ensemble. Sydney’s sassy root choreography. Every choice added something.
Erik D. Diaz’s scenic design was just as thoughtful. I loved the little details—the windows where you could see into the shop, the looming side buildings of Skid Row, the horror-movie screen during “Dentist!” Everything worked together to make the world feel alive.

Closed for Renovation… But Not Yet

The lobby experience was another highlight. From the clever “Mushnik’s Flower Shop: Open Until June 29” signage in the window to the plant-themed merch, you’re in the world of the show from the moment you arrive.
But what truly stood out was the thoughtful, responsible inclusion of resources about abuse—offering support info, hotline cards in the bathrooms, and materials about what abuse can look like. Given the storyline with Audrey, this was such a meaningful, tangible act of care for the audience. I can’t praise that enough.

Every Rose has it’s Thorn and This Show has like Two

There were a few hiccups, most of them technical. Some lighting cues left actors in shadow, which made it hard to catch every expression and moment. Sound was a bit uneven, some lines got lost, while others were almost too loud. And during the finale, the fog machine went wild on my side of the theater. I spent a good minute just… sitting in a cloud of fog. Once they tone that down, it’ll be a non-issue, but I’d be lying if I said I saw the whole final scene clearly.

Don’t Feed the Plants (But Absolutely See This Show)

This was my first trip to Greater Boston Stage Company, and I already know it won’t be my last. From the warm, welcoming front-of-house team to the incredibly high production value and cast that blew me away, this was a fantastic night at the theater. I urge you to get to this show before the flower shop closes its doors for good. And one last reminder: whatever you do, don’t feed the plants.

Little Shop of Horrors runs through June 29, 2025 head to Greater Boston Stage Company to get your tickets now.

📸: All Photos throughout this article were provided by Nile Scott Studios