Valley Youth Theatre’s Little Shop of Horrors Delivers a Killer Bloom of Talent, Comedy, and Pure Theatrical Magic

Valley Youth Theatre didn’t just revive Little Shop of Horrors, they detonated it in the best way possible. This production is a full-throttle spectacle packed with powerhouse vocals, razor-sharp comedy, and design work so good it feels borderline illegal for a youth theatre to pull off.

Front and center were Emily Anton as Audrey and Luke Chester as Seymour, and honestly? Broadway should keep an eye on its job security. Anton brought a shimmering vulnerability to Audrey with vocals that could level a city block. Chester matched her beat for beat, awkward, endearing, and belting like he had something to prove. Together, their chemistry was so good it felt straight out of a professional production.

Backing them up were the electrifying Urchins: Valerie Winch, Isabella Penza, and Alyssa Morrison, who delivered pure, unapologetic CAMP. These three were attitude, sparkle, and vocal fire rolled into one trio of chaos gods. Every time they stepped onstage, the energy spiked.

Then there was Ra’jihya Givens as the voice of Audrey II, and let’s be real, she didn’t “perform” the plant; she possessed it. Her vocals were ferocious, buttery, commanding, and downright delicious. If the plant asked me to hand over my soul with that voice? Yeah, sure. No complaints.

Jaden Sparkman’s Orin the Dentist was a comedic fever dream, deranged in exactly the way the role demands. He had the audience wheezing, wincing, and cheering simultaneously. A menace. A delight. A menace again.

Visually, the show was a knockout. The rotating set was way beyond the expectations of community theatre, a fully realized Skid Row flower shop on one side and, with a spin, a multi-level space featuring a staircase leading up to the live band. It felt dynamic, alive, and shockingly slick. And the Audrey II puppet? Stunning. Gorgeous. A leafy beast with enough presence to earn its own curtain call.

From start to finish, VYT’s Little Shop wasn’t just “good for youth theatre.” It was good, period. Smartly directed, brilliantly performed, and overflowing with talent that belongs on much bigger stages. If this production is any indication, the next generation of theatre is coming in loud, confident, and extremely well-lit.