Fraser Carr – Seymour Krelborn
Stella Shute – Audrey
Lana Karlusic – Ronette
Sarah Singh – Crystal
Ayesha Jaiswal – Chiffon
Kresha Jaiswal – Ronnette/ Urchin
Maiya Griffiths-Green – Ronnette/ Urchin
Lexi Taylor – Ronnette/ Urchin
Leonie Kosasi-Papdan – Ms Mushnik
Isaac Ng – Mr Mushnik
Ollie Bartholomew – Audrey II
Kimi Ji – Audrey II
Peppa van Houten – Audrey II Creeper
Annabelle Jarvis – Audrey II Creeper
Zara Armytage – Audrey II Creeper
Georgina Dobson – Audrey II Creeper
Alex Goulios – Orin Scrivello
Charles Aponso – Bernstein
Georgie Cole – Mrs Luce
Nigel Leung – Skip Snip
Felix Waters – Patrick Martin
Beth Lalor – Interviewer
Reu Phillis – Customer 2
Tilly Burgess-Hoar – Wino #2
Lucas Guo – Wino #2
Archer Fu – Mr Chang
Juliette Cox – Skid Row Gang (and other assorted characters)
Issy Van Drongelen – Skid Row Gang (and other assorted characters)
Emily Crawford – Skid Row Gang (and other assorted characters)
Hattie Wade-Holdaway – Skid Row Gang (and other assorted characters)
Daniel Rosina – Skid Row Gang (and other assorted characters)
Hamish Scudamore – Skid Row Gang (and other assorted characters)
Keyboard 1/Conductor – John Shawcross
Keyboard 2 – Kathy Hirche
Violin – Ella Borthwick
Trumpet 1 – Ari Farrar
Trumpet 2 – Finlay Stehle, Sean Rankin
Reed 1 – Jim Davidson, Shae Stabryla, Tim Xu
Reed 2 – Janice Wilding
Guitar – Freddie Sternson
Bass – Gen Aitken
Drums – Louis Fan
Percussion – Sean Loughran, Max Barbara, Henry Huang, Jason Jin
Backstage Manager – Katherine Barton
Stage Manager- Chloe Fitzgerald
Right-side Stage Assistant – Eda Philip
Left-side Stage Assistant – Chiara Lamaro
Audrey II Puppeteers – Oscar Einam and Juliette Cox
Crew – William Bomar, Quentin Boyd, Brian Dong, Tom Hamilton, Zac King Jasmine Luo, Lily Power, Wil Smith
Props Master and Backstage – Paige a’Beckett and Fiona Gillies
Costume and Make-up Support – Bonnie Lampard, Michelle Law, Leah Carr, Dara Karlusic, Yen Kosasi, Karen James, Jo McGuire, Renee Stafford
Director – Nick Waxman
Musical Director – John Shawcross
Assistant Director – Emma Waxman with Katherine Barton
Choreography – Xavier McGettigan, with additional choreography by Emma Waxman and Nick Waxman
Dance Captains – Lexi Taylor, Georgie Cole and Tilly Burgess-Hoar
Vocal Director – Holly Sharpe
Costume Design – Emma Waxman with Judy Ford
Set Design and Construction – Steve Annis
Prop Design and Creation – Steve Annis
Set Construction – Jacob Van Eggelen and Katherine Barton
Make-up Design – Caitlin Roe
Lighting Design and Operation – Andrei Chlebnikowski | BAAC Lighting
Show Caller – Mizuki Akazawa
Sound Design and Operation – Ben Anderson
Microphone Technicians – Zara Adams-Bailey and Jayson Fry
Venue Technicians – Ben Hardiman and Jordan Clarke
Trailer and Original Projection Content – Mike Fletcher | BAAC Lighting
Design – Chloe Flemming and Sofie van Gunsteren
Marketing – Jo McGuire and Jacqueline Adams
Digital Programme – Nick Sculley
Trybooking Management – Silke Valerkou
Photography – Drew Ryan Photography
The company thanks the Principal, Rebecca Cody, along with the Executive Team and the School Council for prioritising live theatre and for their ongoing support. We thank Pete Wilkins, Director of Student Experience & Engagement, for his help behind the scenes, Ari Farrar for his advice and willingness to lend a hand, as well as the Heads of House who arranged for their cohort to come and see the show.
Special Thanks
Jacob Van Eggelen
The Facilities Team
Ian Thomason
Teresa Thomas
Steve Gibbs
Aaron Hovey
Chartwells
Quay Clean
The Print Room Ladies
Jill Waxman
Bruce Waxman
The Prop Store Melbourne
Stage School
Patrick School of the Arts
Footlight Productions
Stage School Australia
Milla Ford for her dentist design work
A huge thank you to Judy Ford for her invaluable contributions to the costume creation process.
Thank you to the front of house ushers, and Lorne 160 team for ensuring the event ran smoothly.
In our School’s 170th year, this production marks two significant milestones. Firstly, we celebrate the 10th anniversary of our spectacular SPACE. Secondly, we welcome Director Nick Waxman’s first musical at GGS. In both regards, it seems fitting that the musical chosen is essentially a cautionary tale, as relevant now as its debut in the 1960s. This dark comedy juxtaposes humour and horror, and offers diverse musical styles and relatable characters to capture our moral imagination: whilst laughing and toe tapping along with the rocking tunes, we are prompted to reflect upon unchecked ambition and greed, especially within the context of individual gains. We are reminded that any pursuit, and particularly of love, money and fame, has consequences. We are (hopefully) convinced that within a world of unscrupulous temptations, ethical choices will ultimately triumph … GGS, please, beware the plant!
Little Shop of Horrors is outrageous, absurd and undeniably fun – but, beneath its B-grade sci-fi flair and catchy tunes lies a dark, human story about loneliness, desperation and the seductive pull of being seen.
The people of Skid Row are neglected and ignored. They’ll believe anything, follow anyone and, eventually, do anything if it offers them the chance to escape. Seymour, a quiet, socially awkward outsider, finds himself suddenly noticed – by his boss, his crush, the media… and a mysterious talking plant. The attention is intoxicating. When you’ve spent your life being invisible, even manipulation feels like love. Fame feels like purpose. The danger lies in what you’re willing to trade in return.
In our production, Audrey II is not an offstage voice but a live physical presence – an embodiment of Seymour’s inner thoughts and desires. This choice reframes the story: it’s not an alien threat, but a human one. We’ve also split the role of Mushnik across two performers – Mr. and Ms. Mushnik – which allowed us to move beyond a single cultural interpretation and reflect a broader, more authentic range of voices within our cast and community.
The band is onstage, fully visible and integrated into the world. This was a deliberate decision -to make Skid Row feel immediate and lived-in. The sound isn’t coming from somewhere else -it’s part of the fabric of this place, like the bricks, the grime and the hunger.
The costumes and set reflect this too: a faded, rotting colour palette that suggests a city forgotten. A huge thanks to Steve Annis and Emma Waxman for their cohesive set and costume design, which gives us a Skid Row that feels both grim and surreal, and allows Act 2 to tip into garish, camp chaos as the story spirals out of control.
The sound of this show is gritty and urgent, and it’s been a challenge for this cast to tap into that energy. But they’ve stepped up, creating characters who are silly and strange, yes, but also heartbreakingly real. They’re efforts have paid off wonderfully.
When people are kept small and powerless, they’ll cling to anything that makes them feel seen. Even if it means feeding the monster.
Thank you to the cast, creative team, crew, band and community for your ongoing support of this show. As this is my first musical at GGS, I am very thankful to drama captains Fraser Carr and Stella Shute, as well as the irreplaceable Katherine Barton, for all they have done.
Director: Nick Waxman
Before establishing himself as a sought-after composer for Disney and Broadway, Alan Menken gained notoriety for the highly successful Off-Broadway production of Little Shop of Horrors. The appeal of the musical lies in its diversity of musical styles, from authentic 1960s Rock and Roll, R & B, Girl Group “Doo-Wop Pop” (The Angels and The Supremes), along with Menken’s own contemporary popular musical theatre style which is characterised in his Disney musicals.
It has been a joy to see the GGS student and staff orchestra navigate the score of Little Shop. Playing in an orchestra musical demands intense effort and dedication to the rehearsal period, production week and performances, and I have been thrilled with the energy and musicality that each orchestra member has given to the show. I hope you enjoy hearing (and seeing!) them perform on stage tonight.
Little Shop of Horrors has been a joy to bring to life with our fabulously talented and hard-working students. With toe-tapping tunes and wickedly witty lyrics that blend the doo-wop charm of The Supremes with Broadway flair, we know you’ll feel the infectious energy, from the dark depths of the slums in “Skid Row” to the menacing, rocking blues of “Feed Me.” Every number is a melodic gem, brimming with humour, heart and a touch of horror! Alan Menken’s vibrant score and Howard Ashman’s clever wordplay create a musical experience that’s both nostalgic and refreshingly original. The show’s intricate harmonies, especially in ensemble numbers, demand precision and vocal agility, challenging performers to blend seamlessly while staying in character and offering a thrilling sense of unity once mastered. Whether it’s the soulful longing of Seymour, Audrey’s dreamy ballad, or the anxiety inducing flair of Orin, the show delivers a feast of sound that delights, surprises and lingers long after the final curtain.
It has been a pleasure as always to work with the Geelong Grammar School students on this latest musical, and we’ve once again seen them take on incredible challenges in creating the magic you see on stage today. In the numbers I created, choreography for the Urchins, I wanted to evoke the attitude and shapes of the Motown era, taking inspiration from performers like Dionne Warwick and The Supremes. Especially when working with the ensemble, moving between moments of reality, hyper-reality and non-reality has been a major exploration in creating the movement language of Little Shop, taking everyday movements and turning them into exaggerated gestures, weaving them between moments of dance. The cast have worked brilliantly to connect movement to story and place, but also as a critical part of connecting with the audience.
Choreographing the GGS Senior School Musical has once again been a joy this year, and I’d like to thank the staff and students I’ve worked with over the years who make the musicals such memorable and rewarding experiences.
Act I
In a bleak urban neighbourhood, three sassy street urchins—Crystal, Ronette and Chiffon—open the show with a bold warning and a groove: “Little Shop of Horrors.” They reappear throughout the story, acting as a kind of Greek chorus. We meet Seymour Krelborn, a timid and nerdy flower shop assistant, and Audrey, his glamorous but vulnerable co-worker. They, along with their grumpy boss Mr. Mushnik, lament their miserable lives in “Skid Row (Downtown).” During a mysterious eclipse, Seymour discovers a strange, flytrap-like plant he names Audrey II, in honour of Audrey (“Da-Doo”). When he accidentally pricks his finger, he realises the plant feeds on blood. He nurtures it in secret (“Grow For Me”).
As Audrey II begins to flourish, it brings success to the failing flower shop and attention to Seymour. Customers return (“Ya Never Know”), and Mushnik sees dollar signs. Audrey, meanwhile, dreams of escaping her abusive boyfriend and settling down with someone kind—like Seymour (“Somewhere That’s Green”). With business booming (“Closed for Renovation”), Seymour is offered a full partnership by Mushnik (“Mushnik and Son”). Meanwhile, we meet Orin Scrivello, Audrey’s sadistic dentist boyfriend, who proudly explains his career path in the twisted rock anthem “Dentist!”
Seymour, now exhausted from feeding Audrey II his own blood, is tempted by the plant’s offer of fame, love and success—if only he’ll find more “substantial” food (“Feed Me (Git It)”). Though Seymour lacks the nerve to kill Orin outright, fate intervenes: Orin overdoses on laughing gas. Seymour watches him die, then feeds the body to Audrey II (“Now (It’s Just the Gas)”). Mushnik begins to suspect something is wrong, but Seymour is in too deep. As Audrey II grows ever larger, the first act ends in a dramatic feeding frenzy (“Act I Finale”).
Act II
Orders flood in, and the shop is overwhelmed (“Call Back in the Morning”). Audrey and Seymour finally confess their feelings and share a heartfelt promise of safety and love (“Suddenly, Seymour”). But Mushnik confronts Seymour about Orin’s disappearance. In a panic, Seymour feeds Mushnik to the plant as well (“Suppertime”). Now fully in control of the shop and at the height of fame, Seymour is offered television deals and product endorsements (“The Meek Shall Inherit”). But he is haunted by guilt and knows the plant must be stopped.
Later, Audrey visits the shop. Audrey II tricks her into getting too close and attacks (“Sominex / Suppertime II”). Seymour rescues her, but she is fatally wounded. In her final moments, she asks Seymour to feed her to the plant so she can be part of him forever (“Somewhere That’s Green (Reprise)”). The next day, a slick businessman named Patrick Martin arrives, hoping to take cuttings of Audrey II and sell them across the country. Seymour realises this is the beginning of a worldwide takeover. He tries to kill the plant with weapons and poison, but nothing works.
In a final act of desperation, Seymour dives into the plant with a machete, hoping to kill it from the inside. But Audrey II wins again. Crystal, Ronette and Chiffon return for the final warning: across the nation, more Audrey IIs are taking root. They urge the audience to be careful what they believe—and never feed the plants (“Finale Ultimo: Don’t Feed the Plants”).
Thank you to the newly re-established Hirschfeld-Mack Club.
Thank you to president Mazz Cole, and the committee, for doing all they can to support this show backstage, in the foyer and behind the scenes.
Please consider joining or donating to the Hirschfeld-Mack Club to support future events.
