QPAC has kicked off 2026 with a packed program of must-see shows, including a revival of Little Shop of Horrors, presented in association with Woodward Productions. Other productions filling QPAC’s theatres this season include Annie the Musical, Cluedo and Now You See Me Live.
It’s been more than a decade since QPAC last staged this cult classic, and the musical has lost none of its appeal. The six-week season is almost completely sold out. If you want any chance of seeing the show, stop reading and grab a ticket right now!
Little Shop of Horrors began as a 1960 horror-comedy film, famously featuring a young Jack Nicholson in a minor role. It was the inspiration for the 1982 off-Broadway musical spin off, with book and lyrics by Howard Ashman and music by Alan Menken. In 1986, the musical was adapted into a film starring Rick Moranis and Steve Martin, securing its cult status.
Set on the streets of Skid Row, the story is centred around mild-mannered florist Seymour Krelborn (Maxwell Simon) who works in a failing flower shop owned by the irritable Mr Mushnik (Bryan Probets).
Hopelessly in love with his kind-hearted co-worker Audrey (Kirby Burgess), and desperate to escape obscurity, Seymour’s fortunes begin to change when he discovers a strange plant he names Audrey II. As the plant draws customers, Seymour finally gets a taste of success, fame and a glimpse of a better life.
But Audrey II has a dark secret: it thrives on human blood. As the plant grows more demanding, Seymour is forced to confront the cost of his sudden rise and the moral compromises he’s willing to make.
What begins as a quirky tale spirals into a wickedly funny and increasingly sinister story about greed, power and desire. Wrapped in a doo-wop–infused score and black humour, it gleefully blurs the line between comedy and horror.
Rather than playing Little Shop of Horrors as a campy horror-comedy alone, director Alister Smith leans into its Faustian heart. Seymour and Audrey are framed as tender, optimistic people shaped by a world that has repeatedly told them they don’t matter.
As Seymour, Maxwell Simon skilfully embodies the desperate, dreamer anti-hero, landing the humour while grounding Seymour’s choices in a genuine, aching love for Audrey.
Opposite him, Kirby Burgess is irresistible as Audrey, a woman with a heart of gold and a fragile hope for something better. Her rendition of Somewhere That’s Green is heartbreakingly beautiful.
The opening night audience erupted at their first kiss during the Act Two duet Suddenly Seymour, a reaction earned through the emotional work laid earlier. That connection became literal in Call Back in the Morning, when Burgess and Simon navigate a clever sequence involving tangled telephone cords, choreographed by Dan Venz.
Audrey II, voiced by Matthew McKenzie and puppeteered by Charles Ball, is brought to life with clean coordination. The plant’s growing scale, complete with illuminated panels and the ability to swallow characters whole, delivers classic, crowd-pleasing spectacle.
Stephen Hirst and Bryan Probets effortlessly embrace the show’s heightened reality with obvious relish. As Mr Mushnik, Probets is excellent as the opportunistic florist, particularly in the comic duet Mushnik & Son, where his timing and physicality shine. Hirst flexes his versatility as Orin alongside a string of walk-on roles, each one more unhinged and hilarious than the last.
Completing the picture is the Greek chorus trio played by Kimberley Hodgson, Anna Francesca Armenia and Nykita O’Keefe. Together they are sassy, sharply defined and vocally formidable, providing both narrative drive and musical firepower.
Penny Challen’s monochromatic sets and costumes capture the grimy charm of Skid Row. She cleverly integrates a neon colour palette, allowing scenes to evolve seamlessly and escalating the stakes as Audrey II grows.
Declan O’Neill’s lighting and Ben Murray’s sound design work hand-in-hand to heighten both comedy and menace. Bright, nostalgic washes evoke the show’s 1960s roots, while sharper, more sinister cues underscore the plant’s increasing dominance.
Heidi Loveland’s four piece live band delivers Menken’s iconic score with punch and polish. They balance doo-wop sweetness with theatrical drive, ensuring the music remains a central character in the storytelling.
After more than ten years away from Brisbane stages, Little Shop of Horrors has returned in full bloom. If the near sell-out season is any indication, audiences are more than ready to be fed.
Little Shop of Horrors is presented by QPAC in association with Woodward Productions and runs to 15 February 2026. Cremorne Theatre, QPAC, Brisbane.
Tickets: https://qpac.n.qtix.com.au/tickets/series/littleshopofhorrors26
Socials: https://www.instagram.com/atqpac/
Socials: https://www.instagram.com/woodward_productions/
Photo credits: Joel Devereux
