Audition Notice – The Little Shop of Horrors

Lyrics by Howard Ashman, Music by Alan Menken
Directed by Paul Carr

Musical Director Wayne Oakes
Choreographer Hannah Liddle
Producers Ian Robinson & Andy Burke

Production Dates: Monday 23rd – Saturday 28th June, 7.30pm plus Saturday matinee

Auditions: Sunday 2nd March 11am at Chorley Little Theatre


The Show

In Skid Row, New York, a killer plant from outer space lands in a rundown flower shop and befriends shop worker Seymour. He names the plant after the girl he loves but soon “Audrey II” grows into an ill-tempered carnivore craving blood and Seymour finds he has to satisfy the plant’s evil urges.


From the writers of The Little Mermaid and Beauty & The Beast, this show is best-known for the 1986 film starring Rick Moranis. The stage version has more songs and a different ending.


The Production Team

Paul Carr directed studio musical I Love You, You’re Perfect, Now Change last year, which went on to receive NODA nominations for Best Staging of a Musical, Best Musical as well as winning Best Ensemble Musical Cast. This will be the first main season CADOS musical since 2009 and hopes to build on the success of I Love You… Paul has also overseen many of the Youth Theatre musicals of the last 15 years and wrote and directed the sell-out Santa The Panto in 2012


Wayne Oakes has been musical director for numerous shows across the North West and also runs his own piano school as well as being an established and highly in demand pit musician.

Hannah Liddle has worked on a number of CADOS productions including Snow White (2013), I Love You, You’re Perfect, Now Change (2013) and Santa the Panto (2012).

Ian Robinson is Chair of CADOS, directed the pantomimes Robin Hood (2011) and Snow White (2013), and produced Santa The Panto (2012). Andy Burke has been NODA-nominated for his performance of the Dame in CADOS pantos, and also overseen recent Youth Theatre productions.



Registration at 10.30am, start 11pm. Should finish no later than 4pm. They will incorporate elements of singing, acting and movement. The only real ‘dance’ in the piece is Seymour and Mushniks tango, but there will be choreographed movement elements in a number of the musical sections, especially for Seymour and the Ronnettes. There is no need to prepare a singing audition as you will be taught one of the numbers from the show and then asked to read scripted sections with other auditionees.


Rehearsals will commence in mid-March with a couple of read-through sessions, then mostly singing rehearsals early on to get the musical numbers secure. Into April we will start adding blocking and characterisation in the rehearsal space before moving everything into the performance space in May for the run up to the show in June. Rehearsals are likely to be on Monday, Wednesday and Friday evenings up to May, then potentially adding Sunday mornings as well.

The show does not have a ‘chorus’ as such – the Ronnettes are integral to the show throughout, and there are potentially two roles which play Winos, customers and a couple of extra characters (though this could double with Orin). The cast is therefore limited to a maximum of 10 plus puppeteers and all cast must be 17 or older at the time of performance in July. All cast must be strong singers but there is no requirement to read music. Puppeteers do not need to audition but will be required to attend rehearsals and learn Audrey IIs lines so they can sync with the voice.

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Mid twenties and perhaps already balding a little! Our insecure, naive, put-upon, florist’s clerk hero. Above all, he’s a sweet and well-meaning little man. Needs to get the audience to sympathise with his situation despite continual acts of assisting the murderous plant to get it’s fill of blood! Strong singing range required – Low A to High G



The bleached-blonde, secret love of Seymour’s life. If you took Judy Holiday, Carol Channing, Marilyn Monroe and Goldie Hawn, removed their education and feelings of self-worth, dressed them in spiked heels and a low-cut black dress, and then shook them all up in a test tube to extract what's sweetest and most vulnerable-that'd be Audrey. We are not necessarily looking for a carbon copy of the Ellen Greene character of the film but someone that can bring their own interpretation to the role. Strong singing range required - Low A to High D



Their boss. A failure of an East Side florist. His accent, if he has one, is more that of middle class New York than of Eastern Europe. He seldom smiles but often sweats! Has a tango number with Seymour, and some singing required in range Low G to High E flat - as well as strong character acting.



A smooth, confident dentist with a black leather jacket and sadistic tendencies. He is NOT, however, a leftover from the movie version of GREASE. Think instead of an egotistical pretty-boy — all got up like a greaser but thinking like an insurance salesman and talking like a radio announcer. May also double for some character parts. Singing range - Low G to High E, though most of the song required could be ‘performed’ rather than sung if necessary.



An anthropomorphic cross between a Venus flytrap and an avocado. It has a huge, nasty-looking pod which gains a shark-like aspect when open and snapping at food. The creature is played by a series of four increasingly large puppets, manipulated by one or two Puppeteers. The first time we see The Plant, it is less than one foot tall. The last time we see it, it fills the entire stage.



Puppeteers may also play some walk on parts in act 1, though would not be required to sing. They do however need to learn the dialogue and songs for Audrey II (provided by a separate vocal artist) so that their operation ties in with the vocal performance. The plant operation can be quite physically demanding as well as hot and claustrophobic at times so a good level of mobility and some stamina is essential!


Provided by an actor on an offstage microphone, who as an unseen performer needs a good control of their vocal dynamic and using their voice to portray emotion and intent. The sound is a cross between Otis Redding, Barry White, and Wolfman Jack. Think of The Voice as that of a street-smart, funky, conniving villain — Rhythm and Blues’ answer to Richard the Third. Strong singing range required - Low G to High F.



Three female street urchins who function as participants in the action and a Greek Chorus outside it. They’re young, hip, smart and the only people in the whole cast who REALLY know what’s going on. In their “Greek Chorus” capacity, they occasionally sing to the audience directly. And when they do, it's often with a "secret-smile" that says: "we know something you don't know." Would ideally suit singers who are used to singing in quite tight harmonies, but this is not essential and could be taught. Singing range - Low G to High F