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The Village Players at the James McCabe Theatre in Brandon's Valrico community takes to the stage with "Little Shop of Horrors." Show dates in September and October, 2010.
![Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”](http://www.mypapernow.com/Other/Village-Little-Shop-Of-Horrors/i-g9Bn8ND/1/Ti/DSC_7015-Ti.jpg "Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”")
![Ryne Faurote, as Seymour, has a falling out with Audrey II, in the Village Players production of LIttle Shop of Horrors. Book and lyrics by Howard Ashman and music by Alan Menken, the show is based on the story by Roger Corman.
SHOW DATES AND PARTICULARS:Sept. 24-25, Oct. 1-2 and 8-9, at 8:15 p.m. (Door opens at 7:30 p.m.)Sept. 26 and Oct. 3, at 5 p.m. (Doors open at 4:15 p.m.)General Admission: $12; Ages 55 and over: $10; Ages 10 and under, $5James McCabe Theatre, 506 Fifth Street, Valrico, Fla.
PRODUCTION STAFF:
Director / Sound / Set Design: OLIVER SPRAGUE
Music Director: SHANNA HOLLANDStage Manger / Set Design: KEITH HOLMES
Lighting Design: KATIE MILLER
Choreography: LOIS GREEN DUNSON
Set Construction: KEITH HOLMES, OLIVER SPRAGUE, KATIE MILLER, FRANK GOYCO
Costumes: CARLTON JONES
Set Dressing: BRUCE MILLER, KATIE MILLER
Stage Crew: GINA GIORDANO, ANDREW ERDMAN
Programs: RAMONA HORROCKS
MUSIC:
Conductor: SHANNA HOLLAND
Piano: LENN STONE
Synthesizer: KRISTEN HOLLOWAY
Bass: BRANDON LANGLSEY
Drums: AARON BUCKINGHAM
THE CAST:
Chiffon: DANIELLE GOYCO
Crystal: HEATHER RICHARDSON
Ronnette: NICOLE ZECCHINI
Mushnik: HAL GRANHOLM
Audrey: MELISSA BROWN
Seymour: RYNE FAUROTE
Orin: MATT BRAVO
Bernstein: THERESA MILLER
Skip Snip: PETER B. MILLER
Luce: MARK MANN\
Patrice Martin: CHRISTINE BARTON
Wino No. 1: RUTH SOUCEK
Wino No. 2: GREG SUMMERALL
Waitress / Customer: PAULA SPANGLER KLEIN
Bag Lady / Customer: DAWN DOUGHERTY
Customer: DOMIN PAZO
A Voice Not Unlike God’s / Radio Announcer / Garbage Man: ALLEN RICHARDSON
Audrey II (Voice): MATT MELLO
Audrey II (Animation): LOIS GREEN DUNSON, ALLISON MILLER, DAVE WEARMOUTH](http://www.mypapernow.com/Other/Village-Little-Shop-Of-Horrors/i-DJSPKJD/1/Ti/DSC_6978-Ti.jpg "Ryne Faurote, as Seymour, has a falling out with Audrey II, in the Village Players production of LIttle Shop of Horrors. Book and lyrics by Howard Ashman and music by Alan Menken, the show is based on the story by Roger Corman.
SHOW DATES AND PARTICULARS:Sept. 24-25, Oct. 1-2 and 8-9, at 8:15 p.m. (Door opens at 7:30 p.m.)Sept. 26 and Oct. 3, at 5 p.m. (Doors open at 4:15 p.m.)General Admission: $12; Ages 55 and over: $10; Ages 10 and under, $5James McCabe Theatre, 506 Fifth Street, Valrico, Fla.
PRODUCTION STAFF:
Director / Sound / Set Design: OLIVER SPRAGUE
Music Director: SHANNA HOLLANDStage Manger / Set Design: KEITH HOLMES
Lighting Design: KATIE MILLER
Choreography: LOIS GREEN DUNSON
Set Construction: KEITH HOLMES, OLIVER SPRAGUE, KATIE MILLER, FRANK GOYCO
Costumes: CARLTON JONES
Set Dressing: BRUCE MILLER, KATIE MILLER
Stage Crew: GINA GIORDANO, ANDREW ERDMAN
Programs: RAMONA HORROCKS
MUSIC:
Conductor: SHANNA HOLLAND
Piano: LENN STONE
Synthesizer: KRISTEN HOLLOWAY
Bass: BRANDON LANGLSEY
Drums: AARON BUCKINGHAM
THE CAST:
Chiffon: DANIELLE GOYCO
Crystal: HEATHER RICHARDSON
Ronnette: NICOLE ZECCHINI
Mushnik: HAL GRANHOLM
Audrey: MELISSA BROWN
Seymour: RYNE FAUROTE
Orin: MATT BRAVO
Bernstein: THERESA MILLER
Skip Snip: PETER B. MILLER
Luce: MARK MANN\
Patrice Martin: CHRISTINE BARTON
Wino No. 1: RUTH SOUCEK
Wino No. 2: GREG SUMMERALL
Waitress / Customer: PAULA SPANGLER KLEIN
Bag Lady / Customer: DAWN DOUGHERTY
Customer: DOMIN PAZO
A Voice Not Unlike God’s / Radio Announcer / Garbage Man: ALLEN RICHARDSON
Audrey II (Voice): MATT MELLO
Audrey II (Animation): LOIS GREEN DUNSON, ALLISON MILLER, DAVE WEARMOUTH")
Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”
Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”" href="javascript:openLB(1029123878,'',XLarge,'',1024,681);">![Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”](http://www.mypapernow.com/Other/Village-Little-Shop-Of-Horrors/i-g9Bn8ND/1/L/DSC_7015-L.jpg "Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”")
Directing Little Shop of Horrors is a 10-year dream come true for director Oliver Sprague, who says he’s been drawn to the show by its “energy and music.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”
“Add in the shock value of a man-eating, growing, and singing and dancing plant and you can’t go wrong,” Sprague adds.
Ryne Faurote, as Seymour, the hapless florist shop worker who raises a plant that feeds on human blood, sits with the largest of the plant's incarnations during dress rehearsals for the show in September.
His first crack at the show was in high school “and I was lucky enough to get the part of Seymour,” says Sprague, who credits his theater teacher, Tamara Green, for putting him on stage in the lead role and on track for a community theater career.
“From that moment on this show found a very dear place in my heart,” Sprague says. “And since then I’ve been thinking about how I would direct this show if I ever got a theater group to produce it.”
That chance came with the Village Players, in residence at the James McCabe Theatre in Valrico, Fla.
“The hardest part about doing this show is the fact that you only get the puppets for one week prior to the opening date. That was a huge challenge,” Sprague says. “To try and make up for that, we scheduled a trip for all the cast members who interact with at least one of the puppets to meet the man who designed and built them.”
Sprague credits this road trip with being “the biggest key” to the show’s success. “Once we had a two-hour training session with the puppets my job [as director] became more enjoyable and far easier because I knew the mechanics of what these puppets could do and what the boundaries would be,” Sprague says.
Typical of most stage shows is one “hell week” before opening night. Sprague’s production had two “hell weeks,” mostly because of the Audrey II character in the form of not one but several puppets. The largest of the puppets were operated by actors- turned-puppeteers Lois Green Dunson, Allison Miller, and Dave Wearmouth.
The extra rehearsals “allowed the puppeteers to become fully acquainted with the puppets and to allow them time to develop the personality and character we wanted Audrey II to have,” Sprague says.
Sprague gives high marks to Theresa Miller, for her help in secondary character development and in communications with the puppet designer; to Maurice Cecchini, for supplying the dental equipment props; and to Allen Richardson, “for being an awesome creative consultant for me in this show.”
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