Show People with Paul Wontorek: Alan Menken

(upbeat jazz music) – Whether you grew up enchanted by the music of Disney movie classics like The Little Mermaid,
Beauty and the Beast, Aladdin, and Newsies, or
you love seeing those shows on The Great White Way,
you’ve enjoyed the music of Alan Menken. Now his first breakout hit,
Little Shop of Horrors, is back on the New York stage. Hear this master of music storytelling talk about bringing
that big green goldmine back to its Off-Broadway roots, why Darren Criss owes
his 50 bucks, and more, on this week’s Show People. (upbeat jazz music) Mr. Alan Menken, I’m so happy you’re here. – Hi, good to see you. – You know, this will be
like a special series of, like the icons, the people I love, the people who made me love Broadway. You’re one of them.
– Thank you. – So, Little Shop of Horrors. I know this is a very special
show to you, obviously. And it’s back! And it actually, I mean, it feels like Little Shop of Horrors, in
some ways, never went away. But actually, there have
been pretty long gaps where we haven’t had, you know– – Yeah.
– A proper, big production. And recently, there’ve
been a lot of Little Shops. – Right now, they’re just proliferating. They’re like little Audrey II’s! (Paul laughs)
Which is kind of astounding to me. – Now, it’s interesting, because the movie of Little Shop of Horrors, which I adore, in a lotta ways, I feel like the movie, in many ways, is so perfect that it’s hard to do it
onstage, after the movie. Does that make sense to you at all? – Well, I kind understand how, if somebody saw the movie first,
they would feel that way. – Right.
– For those who, who were involved with the show first, it’s sort of the opposite. The stage show is Little Shop of Horrors. The movie is an adaption
of Little Shop of Horrors. And one that had made fundamental
changes in it to work. – By the way, which
ending do you like better? – For the movies, the ending
that was actually released is the one that works better. And it was amazing, Howard
actually doing rewrites in the– – Howard Ashman.
– Howard Ashman, the late great collaborator
of mine, Howard Ashman, rewrote the script in the most brilliant and surgically precise way,
so that they could keep, much of the shots they had done, which is had to insert
that Audrey gets killed and Seymour gets killed, and take that out and go to the fact that they live, now. Which is a major change. It had that little wink
of the plants at the end, just kinda saying, “We’re still here.” – But the very very first
Little Shop of Horrors was probably done in a room
like the size of this, right? Somebody told me they saw it
in like in an office building, or, was that the WPA? – No, yeah, WPA Theatre
was on the third floor of Fifth Avenue and 19th Street. We were right underneath the
Chopsticks Massage Parlor, and it was a 99 seat theater. The air conditioning worked sporadically. And the material just
catapulted out of that space. – I think what I mean about the movie is, the movie made the story so big, right? And then I know it ended
up coming to Broadway, in sort of a big production. And everyone was really
excited when they heard about this new revival
at the Westside Theatre, because it’s small. Because, I mean, it’s
much bigger than the WPA, but it’s a couple hundred seats, I think. And obviously they got these
great names to be in it, in this very small space. What does it mean to you
to do it Off-Broadway, at this scale? – Well, I mean, this is like
sort of the pun of all time, it’s like bringing Little
Shop back to its roots. – Right.
(both laugh) – I apologize, but it is. Little Shop belongs in a
small, intimate, you know, if the sanitation was a little worse, it would be even better. (Paul laughs) If there were, like, rats, it
would be (laughs) even better. I mean, Little Shop
really belongs, you know, in a hole in the wall. That’s where it’s conceived to exist. You know, when we moved
it to Broadway, it was, I guess an experiment. It was one that Howard never
wanted to see happen, really. He was totally opposed to Little Shop ever moving to Broadway. But we did the production. It was wonderful, it was a wonderful cast. I think it was kinda the shiny toy Little Shop of Horrors, so it really was a little polished for the show. And the show is, part of it, it’s just the gestalt of the experience of seeing Little Shop, you
know, in that kind of space that you would kind of just crawl into. – Yeah. Well it’s supposed to feel
like a small troupe of actors, sort of putting on this show, right? – Yeah.
– I mean, it definitely has that sort of, and the new production
definitely has that feel. – Yeah, it takes place on Skid Row. And so I like the fact that
it’s being done this way. I have a connection with
Michael Mayer that goes back, all the way back to when
he first came to New York. He directed a review of Howard’s material, which was called Hundreds of Hats. And so he’s kind of been, sort of family to us, and
certainly to the Ashman estate. And I knew he would definitely
have the sensibility. The cast is a wonderful, wonderful cast. Basically, these are actors
who are all Broadway caliber, and would normally not take
something Off-Broadway, who are in for the ride of taking this into this small space, and into
an Off-Broadway sensibility. That’s really special. – What did you see in that original movie? Because when I watch that
movie now, I don’t see it. The Roger Corman movie of the same title. It’s such a strange little film. And it’s amazing to see
what you turned it into. – Well first of all, the
strangeness of the little film was part of its appeal. It was, you know, one of the
cheapest movies ever made. It was made on the set of another movie, sort of almost as, I think, as
a dare or a bet or something. It was Howard who wanted to
do this for the longest time. When Howard first showed it to me, I was just, I was in, totally. First we did a version of
Little Shop that was very much sort of in keeping with
the original Corman movie. It’s kinda jazzy in style, a little bit. And a little creepy, and nerdy. I remember that we had the, ♪ Feed me, I’m hungry ♪ ♪ Feed me, I’m starving ♪ ♪ Feed me, I’m fading and fast ♪ The do do do do do do do do ♪ Feed me, you nudnik, feed me ♪ It was just this strange,
you know, combination of sort of jazzy and vaudeville and tacky, very in keeping with the movie. And we would play that for people, and they would kinda
say, “I don’t get it.” And then one day Howard came in and said, “You know what, I think it’s
the dark side of Grease.” And everything fell into place
from there, very quickly. And, you know, he was
the artistic director of the WPA Theatre, so it was– – So it was easy to get a booking on that. – It was easy, exactly. (both laugh) And, course, we had no
reason to be nervous, because it just opened
and everybody went crazy. – Everybody, was there
like an opening night party and you all got the
review in the paper and, one of those classic moments, unless, “Look at the review!” – A little bit of that.
– Or was it more of a slow burn? – No, it wasn’t a slow burn,
it was just more than that. It was almost, the reviews were wonderful. But it wasn’t the kinda show that needed to be anointed by critics. We had lines around the
block, we had midnight shows. It was a phenomenon. We instantly had producers,
you know, banging on the door. There was clearly something
very very special about this. And, you know, friends would say, “You guys got a big green goldmine here.” And it was! As our show was opening,
Cats was coming over and was being produced
by Cameron Mackintosh and David Geffen and the Shuberts. And Albert Poland, who
was our general manager, sort of assembled the same
organization around us. And it proved to be incredible. It was wonderful. We opened, you know, in London. It was sort of under Cameron’s aegis. And then in Los Angeles, it
was David Geffen’s backyard. It was a great ride. – It sure was. We’re gonna take a quick break, we’re gonna talk more about
your big green goldmine. More with Alan Menken when we come back. (upbeat jazz music) – [Male Narrator] Perverse,
foul, disrespectful, explicit, insane, filthy. And the new gold standard for comedy. The book of Mormon. (upbeat jazz music) – And we’re back with Mr. Alan Menken. I recently had, Darren Criss was here. The very talented Darren
Criss, and somebody asked– – Did he tell our backstory of– – You have a backstory with Darren Criss? – Oh my, like, yes. – You have a story with everyone. – (laughs) Yeah, it’s true. My daughter went to
University of Michigan, she was at the musical theater. And she said, “Oh, there’s
this boy Darren Criss “who’s playing guitar in this,” it was a coffee shop, I
forget the name of it. “And he plays a lot of your songs.” So I went in, and he sure is, you know, ♪ I wanna be where the people ♪ and he’s this young boy,
hunched over his guitar. And I remember, I left him like, it was so touching, I
said, oh, that’s sweet. I really should help him
out, so I left him a $50 tip. – And now he’s Darren Criss. – And now he’s Darren Criss. (Paul laughs) No, he’s great, I love him. – He was here recently,
talking about Elsie Fest, and somebody was saying,
“Who’s your dream person, “alive or dead, that you
would love to have perform “at Elsie Fest?” And he said Howard Ashman. And, you know, I have
been kind of obsessed with Howard Ashman my whole life, and I’ve also talked to Ellen Greene, the original Audrey, about Howard Ashman, they’re very close to him, and, what was Howard like? – Howard was very smart, funny. Very on top of everything, very hip. He had sort of a crust to
him that would make you think he’s kind of like, you know, tough. But underneath, what a heart. What a heart Howard had. I don’t know if it was before he got, maybe it was after he got
sick, I can’t remember, but, I said, what, you know,
is your ultimate ambition? I thought it would be, you know, “I wanna have my own production company, “and I want to making films,” or. Said, “I would love to start
a children’s theater company.” It was very much like Howard. You know, he came to this from
the wonder of being a child. And, you know, I recommend to people, there’s this documentary called Howard. It really gives you an insight into Howard and who he was, and his life. And, of course, there’s, you know, what could have been is unfathomable. Because, you know, very
quickly the AIDS crisis just sort of gulfed so much of his life, and so much of everybody’s
life from that time. – What was it like for you, watching, when I looked at the list
of a lot of the people that you collaborated with
early on in New York City. Tom Eyen, also. – I lost three of my
collaborators in less than a year. – Wow. – The first one was Steve Brown. Steve Brown and I wrote a musical called Atina, Evil Queen of the Galaxy. – And The Thorn? – And The Thorn, the two of them. Both were vehicles, how do
you know about The Thorn? – I read about it. It’s out there, but it was like
a spoof of The Rose, right? – Yeah, exactly.
– Right, okay. – And these were both vehicles for Divine. – Oh, both of them then, okay. – Yeah. And Atina was actually
produced by Michael Bennett, and actually Robin Wagner,
you know, the set designer. And it was directed by Tom O’Horgan, who was the original director of Hair. And it was a freak show. A total crazy freak show. And then came The Thorn, which was another vehicle for Divine. And this was a send up of The Rose. – I think it sounds hilarious,
just the title alone. – Exactly. And it was immediately before Little Shop. Then Howard, and then Tom Eyen, who I’d written Kicks:
The Showgirl Musical with. Of course, people know Tom
as the creator of Dreamgirls. It was a landslide of mammoth proportions in all of our lives.
– This feels like a very therapy kind of question, but is there like survivor’s guilt, when you watch so many
people, you know what I mean? And you obviously are
carrying on the legacy, and you’ve always sort
of carried on the legacy of Howard’s work, especially, but– – I don’t feel survivor’s guilt. I feel a debt of gratitude. It’s like 9/11. It’s hard to fathom. You know, I don’t know if
we’ll ever wrap our heads around what that was, ’cause it was hitting the cream of of
the theater community. And you just kept waiting,
who’s gonna be next? You know, the world’s
a very different world because of that plague. And I, you know, I also think
about that Howard was sick from the time we were
working on Little Mermaid on, but he wasn’t telling anyone. He wasn’t telling me. When there was any sort
of physical symptom, he would say it was hiatal
hernia, or something else. And it was the Oscars for–
– When you won your first Oscar, right.
– The Little Mermaid, at the Governor’s Ball, and he said, “Wait, we have to talk.” You know, when he told me, “I’m sick,” and when we came back to New York, I said, “I should’ve
known,” but, absolutely, you know, I guess I blocked
out the possibility. And from that point forward, we had to keep it a secret ourselves because, in those days,
you wouldn’t be working. And I will say, when the Disney company finally had to be told, they were great. They were amazing. But all those, Little
Mermaid, Beauty, and Aladdin, were all created with
that huge shadow over, you know, over him, and over our process. And I love the fact
that, whatever’s embedded from that experience, is only enriches it. – So true, because he was writing sort of knowing his time was– – Yeah, I mean, you look for
little, you know, parallels, like people often look at Kill the Beast. Going after this beast,
and building this up as something who was to be attacked, was that a metaphor for what was going on? Or we had a song we
had written for Aladdin that we didn’t end up using, for Jafar. It was called Humiliate the Boy. Jafar’s is taking, one by one, is removing everything from
Aladdin, all of his powers, everything that he’s been
given is being taken away. And that was at a time where, you know, Howard was getting these neuropathies. So one by one, his abilities
were sort of being taken. And his voice was taken. And here we would do all our
demos, and he couldn’t speak. – Wow, I mean, look at Aladdin. I mean, the movie, the
new movie was enormous. I can’t even fathom how
many dollars that made. I think with a B–
– It was over a billion. – Over a billion?
– Over a billion. – Oh, I thought you said a million. Yeah, billion.
– Over a billion. (both laugh) Yeah, and Beauty’s over a billion. And now we’re working on Little Mermaid. I got to work with Benj Pasek
and Justin Paul on Aladdin. And I had met these boys also through the University
of Michigan connection, ’cause I would hear about,
“Oh, there’s this team, “Pasek and Paul.” I’d say, “Oh, isn’t that
nice, they’re this college” (Paul laughs)
College writing team. And then I saw Christmas
Story, and then their work, and then I got to work with them, and we wrote, you know, two new songs. One which, Speechless, is in Aladdin. And now I’m writing
with Lin-Manuel Miranda, who I knew as a little boy. I knew of. ‘Cause my niece went to The Hunter School with both Bobby Lopez and Lin. And my sister would tell me about these very talented young boys. Like, “Oh, isn’t that nice.” – And then look at them now. – And look at them now. – And you and Lin are writing
the new Little Mermaid movie, very exciting. – I think we’re like four or
five new songs in, together. And we’re really having a
good time writing together. – Little Mermaid is a
great original movie. And then the Broadway
production added new things that were fantastic. What’s it like to keep sort
of revisiting these things and having opportunities
to like look at them anew? – I know.
– That’s kind of a great gift, in some ways. – It’s a gift, and– – Do you like to tinker? – Occasionally a pain in the– – (laughs) You’re like,
“It’s already good!” – Yeah, I mean to me, if Little Mermaid and Beauty and Aladdin had
only been the animated musical, I would feel totally complete. What’s interesting is that with Disney, things don’t appear to be linear. So it goes from the animated, to Broadway, and then from Broadway to the. It kind of, almost like spokes on a wheel. Now we’re doing the movie,
Rob Marshall is directing. A lot has to do with the director, for a live action film, at least. And what’s director’s
point of view gonna be? – It’s great to have
these new sort of guys– – I didn’t what a Guy
Ritchie musical was gonna be. I don’t think Guy Ritchie had the clue what a Guy Ritchie musical would be. (Paul laughs) It was much more of a pop
veneer on a lot of the songs. You know, we pushed things to the limit, and then we had to scale them back a bit. Like with One Jump Ahead. But it worked. It really worked. And then, you know, with
Will Smith playing the Genie and doing his thing, musically. It was wonderful. Actually it made life very easy for me, because I didn’t have to do much. In fact, I dared not do much, because, just leave it alone and let, he loved the material, he was
clearly making it his own. You know, I’m a big believer in let an artist make it their own thing. So long as they don’t completely trash it, and he certainly didn’t do that. He brought great dimension to it. – And of course it’s
still playing on Broadway, and people are loving it every night. Losing their minds every night. Aladdin, I mean, it’s the
gift that keeps giving. – Yeah, it is, it is, it’s true. – Okay, we’ll be back
with more with Alan Menken after this break. (upbeat jazz music) – [Female Narrator] This
holiday season, make it magical. Make it Radio City Music Hall. November 8th through January 5th. (sweet Christmas music) (upbeat jazz music) We are back with Alan Menken. I wanna talk about your
childhood a little bit. Okay, so one of the songs we all loved in Little Shop of Horrors is Dentist. What’s the actual title? – Be a Dentist.
– Be a Dentist, Be a Dentist, yeah, which is a song that haunts dentists around the world, because everyone brings it up to them. Right. (laughs) And you actually have a
good reason for writing a– – Well–
– Dentist theme song. – (laughs) Yes, but my story, my backstory is not really why we did it, although it did influence
one very important moment. In the movie there’s this dentist, the scene with the dentist and
the Jack Nicholson character who is enjoying having
all the pain inflicted. I grew up in a family that’s all dentists. My dad was a dentist, my father’s brother is a orthodontist. My father’s father was
a dentist, is a dentist. My mother’s sister’s
husband was a dentist. When we wrote the show,
my dad was President of the New York Chapter of the
American Analgesia Society, society of dentists that promote the use of nitrous oxide as safe. And I thought, okay, having
nothing to do with that, but I thought, what if
the dentist likes to use nitrous oxide, but not on
his patients, on himself. And the mask gets stuck
and the dosage is too high, and he laughs himself to death. And Howard thought, that’s pretty funny! So we went through, we wrote that song, now it’s just the gas that’s
at the end of act one. And as I did in those days,
I sent a cassette tape of the score to my parents. And I get a message on
the machine, and it’s like from my mother, “Hi Alan, it’s mom. “We heard the tape. “Okay.” Click. (Paul laughs)
Beep. (laughs) Well how would you
feel if you spent your life promoting the use of nitrous
oxide is safe, and your? Anyway, and once the show
opened and it was a big hit, my dad, you know, would
say to his fellow dentists, “Well, you know, you’d have
to believe there’s a plant “that eats people, if you can believe “that a guy’s gonna laugh himself to death “on nitrous oxide, ha ha ha.” And then he gave some of the slides, “Look, Seymour, this could happen to you,” was some Norman’s patients. – You kinda give a gift
to the dental profession, (Alan laughs) maybe in some ways. Your childhood and the
household sounds lively, in what I’ve heard about it. – Yeah, it was lively. Mom was an actress, dad
loved to sit at the piano and play show tunes. My sister Faye– – She got to Broadway first! – She got to Broadway. She and Bette Midler shared
a dressing room for years. – Oh really?
– Yeah. – Oh wow, Fiddler on the Roof. – At Fiddler. – So she knew Bette Midler–
– And she would say, “Alan–” – Fresh out of Hawaii Bette Midler. – Yeah, and she’d say, “Bette
is doing a nightclub act. “You should give her some of your songs.” – You just need a towel (Alan laughs) and you could attend, right? It was at The Bathhouse. – But I was, I said,
” I’m a rock musician, “I’m not gonna,” you know, she’s gonna do a nightclub act. Years later, Bette actually did, she recorded God Help the Outcasts for the Hunchback album, so
we did get to work together after all those years. Yeah, it was a very lively household. I was a very ADD kid who, I guess, was afraid he’d have to become a dentist, except I was a terrible student. I hated, I just couldn’t, I was very ADD. ADHD, they called it way back when, ’cause couldn’t concentrate at school. All I wanted to do was music. And I joined this workshop, the
BMN Musical Theatre Workshop with Lehman Engel, who was the
greatest teacher I ever had. And of course learned from all the people in the workshop, as well. – Yeah, you were there with people like– – Maury Yeston, Jack
Feldman was in the workshop. Lynn Ahrens joined later. And you learned how to deliver a moment, an authentic moment, you know, for a character in a musical. – You were writing a lot of songs when you got to New York, right? How old were you when you actually? You went to NYU, right? – I went to NYU at The
Heights, which is the Bronx. – Oh, okay, okay. And when did you move to Manhattan? – Oh, I was 21? – Roommates? – No, actually, right out of college, I actually wrote a
score for a rock ballet, and there was this ballet
dancer walked in, Janis. And Janis and I have been
married for, now, 48 years. – Congratulations.
– Yeah. – That’s amazing. – So my roommate was my wife. – You locked that in really early. – Oh, I was, I knew it. – That must have been great for you, ’cause you had great comfort, sort of like you didn’t
have to worry about that, the extra–
– Yeah, I mean, she can be tough on
me, but she’s the best. (Paul laughs) And we, yeah, we were struggling together. I was starting out playing
for dance and ballet classes, and then I was playing for singers. Worked for Sesame Street, I wrote jingles. – Was that decade difficult? Were you just very
focused, and you were like, “This is, I’m on the path, and this is–” – I just, yeah. I mean, there were hard moments. There were very hard moments. After Rosewater, I did a show
at Manhattan Theatre Club called Real Life Funnies, based on the Stan Mack’s Real Life Funnies in the Village Voice. I wrote music and lyrics to that one. That was the only time
Frank Rich ever reviewed me. Although, when it came time for Beauty, he was our champion. But he got ahold of Real Life Funnies, and it wasn’t pretty. (laughs) It was not pretty. – Do you remember the bad things? Can you like–
– I remember all he said was– – Do they haunt you?
– That Ashman and Menken, last year’s flop musical,
God Bless You, Mr. Rosewater, which already hurt, ’cause I
thought it had been a success. You know, it was artistic success. But we were being, you know, dismissed. – You know, Christian Borle, who plays your dentist now,
off-Broadway, he once told me he wanted to start a business
where actors could get, like, their worst quote on a t-shirt. And just wear it proudly. – I think I’ve misquoted, but the worst quote that I could remember, I think I’ve exaggerated it,
but it’s something like this. It was John Simon, when I wrote God Bless You, Mr.
Rosewater he hated the show. He said, “All of this is
preferable to Alan Menken’s “sub Mitch Lee music.” Poor Mitch Lee, sorry Mitch. ‘Cause he, Mitch is good, but, “sub Mitch Lee music, in
which there is not one bar “of tunefulness, not
one glint of invention. “Pseudo melody after
pseudo melody float past us “like a dirty mop,
dripping liquid grayness, “culminating in a whimper, “until one wonders how so many instruments “can go on for so long without wandering, “even by mistake, into music.” – Oh my God. (both laugh) And you quote it word for word. – Thank you, John Simon. – That would fit on a
t-shirt, big block of text. – Yes, I know. I went back and I looked at it. I think I’m exaggerating. I actually have made it worse than it was. (Paul laughs) Then when it came to Little Shop, I think John Simon just said, “Alan Menken’s music is
instantly forgettable.” – About Little Shop? – Yeah. – Instantly forgettable.
– But not for, listen, live and be well, John Simon. You know, God knows, you
know, I’m sure he’s brought a lot of attention to a
lotta shows in a lotta ways. Everyone’s entitled to their opinion. – Was there a period of
time where you didn’t feel, like, embraced by Broadway? And do you now? Because you’re very regularly on Broadway. I mean like, you spend a lot of, you always have a new
musical you’re working on. I’m sure you have some in your head that I don’t even know about,
that you’re working on. – I’m working on some now. Well, of course we have Hercules– – Which was a brilliant little
surprise, right, to see– – Well I’ve wanted that for years. I’ve wanted to do that for years. And it’s a little bit like Newsies, where sometimes material
just marinates very well. Newsies marinated, and Hercules. And we, course, coming back to it, we brought much more dimension
and richness to it, I think. – But would you like to
bring it to Broadway, Herc? I’m kinda confused about what
the plan is for Hercules. – Me too.
– Okay. – Me too.
– We’ll see, we’ll see. – I don’t know what the plan is yet. We’re all gonna try to figure it out. ‘Cause it was very special
with that Public Works thing. But anyway, going back
to how I mentioned that, do I feel embraced. I think there’s an audience
that grew up on my music, either through films. First of all, a lotta
people have come to theater because of those animated movies. And so that’s been sort
of their entryway in. I feel so lucky that I could get to go from stage, but also to
film, also to television, and just wherever you’re, you
know, working on song material that’s in a story, or
involved with a character. Whatever that is, that’s a musical. So, wherever it happens, I love it. – You have a lot of
awards. Did you know that? – Yeah. – Yeah, there’s a lotta them, right? Are they all in one room? Lotta trophies?
– They’re in, yeah, they’re in my, in fact, I think you’ve seen them,
you came up to my studio. – I haven’t been to your studio yet. – You haven’t?
– No no no, I almost ventured there-
– I thought you’d been there! – I haven’t been there,
but I’ll come anytime. – Well you have to come. Yeah, I have awards cabinet
in back of my mixing board in my studio, and there’s eight Oscars, seven Golden Globes, 11 Grammys, one Tony, and no Emmys. – I know, that’s what I wanna talk about. It seems like that’s sorta
like the easiest one to get. – You want me to cry, that’s very painful. (both laugh) I want my $50 back, Darren.
– Darren Criss. – Darren, I want my $50 back, you hear me? No, he’s a sweetheart. – Okay, so, it’s so great to see you. So what do we have coming up? We have Little Shop of Horrors
at the Westside Theatre. The Little Mermaid movie, coming soon. Disenchanted, correct? – Or Enchanted II, I don’t
know what we’re calling it. – Oh okay, we’re not sure
what that one’s called. – There may be, I think, a
Little Shop movie coming. – Oh right, the Little Shop movie, right, which is interesting. – A new animated musical, so. – Fantastic!
– I just keep doing it. – I love it, just keep goin’. – Until I fall over, and …
(Paul laughs) – I don’t see that happening,
you look really sprightly. – Thank you. – Thank you so much for coming– – Thanks.
– It was so great to talk to you.
– Same here. – Everyone, go see Little Shop of Horrors at the Westside Theatre. Thank you for watching,
we’ll see you next time. (upbeat jazz music)

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