LITTLE SHOP OF HORRORS -- Gilbert & Sullivan Society -- City Hall -- October 9-18.

*** Far from being a `horror' show -- as some have possibly assumed from the title -- this year's production by the Gilbert & Sullivan Society is enchanting, funny, and, as the luckless hero pursues the love of his life, even touching, in a wacky sort of way. Above all, `Little Shop of Horrors' provides a pun-filled evening of wonderfully escapist entertainment. The only, very tenuous, connection with the English duo that gave the Society its name is that this musical's creators, Howard Ashman and Alan Menken, also parody the mores and manners of an age -- in this case, those of early 1960's New York.

Starting out life as a film, the stage version of `Little Shop', a decidedly merry spoof on all those old `B' horror movies, became a huge hit on Broadway.

Set in Mushnik's `skid row' florist shop, the madcap action centres around Seymour, the day-dreaming assistant who grew up in the Skid Row Home for Boys.

His unpromising existence takes a turn for the totally unexpected with the arrival of a plant which, when fed a disconcerting diet of human blood, grows and grows to become the wonder of New York. Fingers now conspicuously covered in band-aids, Seymour is swept into a maelstrom of sudden media attention, lucrative contracts, would-be plant cloners -- and an increasingly voracious plant that turns out to be hell-bent on world conquest.

For Keith Madeiros, well known as one of Bermuda's most talented performers, `Little Shop of Horrors' represents his directorial debut. Not surprisingly, his humorous, often zany touch is matched by an intuitive understanding of challenging technicalities. He effortlessly establishes a pace that moves remorselessly to a climactic finale. Fortunately, he has been able to gather a talented cast well able to sustain that essential `over the top' delivery, embracing the audience in the comic but suspenseful proceedings which transform the grafiti-grimed shop into an uneasy haven of exotica.

It was a first, too, for Marshall DeCouto who stepped confidently into the leading role of Seymour. Looking slightly goofy (as the character demands) but possessing a more than adequate tenor voice, he strikes just the right combination of bewildered horror and modest tenderness as his love for co-worker Audrey becomes inextricably mixed with the fate of that now hateful plant.

Dumb, but sweet-of-heart bombshell Audrey, poured into glittering lurex, teetering about in scarlet high-heels and the object of Seymour's adoration, is played by Nancy Thompson. Verbally abused and more often than not, sporting a black eye inflicted by her sadistic dentist boyfriend, Audrey dreams of a safe, cozy home "in a nice development''. Looking every curvaceous inch Skid Row's answer to Marilyn Monroe -- right down to the little-girl, breathy voice, Thompson produces a wonderfully funny performance, topped off by some excellent singing. Her duet with DeCouto, `Suddenly Seymour' is beautifully done and one of the highlights of the show.

Unusually for a musical, the singing trio of Aneesah Furquan, Lisa Young and Robin Sheppard almost steals the show: serving as a kind of Greek chorus commenting on the bizarre events unfolding around them, these chirpy urchins have been tunefully reincarnated as the Supremes, singing and moving in perfect syncopation, as dreams of The Apollo shimmer enticingly on the shabby horizon.

Larger than life (with a voice to match) is newcomer Gareth Smith as the monstrous dentist. Arriving at the shop by motorbike and clad in black leather jacket and Gestapo boots (very much "leader of the plaque'', sing the urchins), his ugly charm casts its spell on the audience as well as poor, simple Audrey. Singing and gyrating with pantomime-type villainy, Smith gives a virtuoso performance. His rich, bass tones also provide the menacing and increasingly booming voice of the plant which, as the play ends, has grown to a size that threatens to take over the whole of City Hall.

There is a fine, authentically Jewish-accented performance, too, from Dal Tucker as the greedy and sharp-eyed store owner, Mushnik.

While this is hardly a major score, Menken's music is melodious, capturing the spirit of the era and brightly directed by Gaynor Gallant. Debbie Mello has devised the choreography and Charlotte Codling's excellent costumes also reflect the '60's look.

`Little Shop of Horrors' is no blockbuster, but there is something refreshing about a show that relies more strongly on content, rather than lavish production details as has tended to be the norm in recent G & S shows.

Accordingly, the set design (Debbie Mackenzie) is modest and appropriate enough for a down-at-heel shop set in a trashcan-filled alley. The plant, imported from New York, is indeed a wonder.

All in all, an unusual choice for this Society but one which has been handled with wit and imagination by director Madeiros and producer Marjorie Stanton.

Don't miss it.

Note: This production was reviewed at the dress rehearsal, before an invited audience.

PATRICIA CALNAN `GROW FOR ME' -- Marshall DeCouto (centre) sings to the exotic, `fly-trap' plant that's about to cause a lot of trouble for the staff of a `skid row' florist, in the comic musical, `Little Shop of Horrors, as Dal Tucker and Nancy Thompson look on.

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