Ellen Greene can still do a killer Audrey.
In conversation, she seamlessly slips in and out of that singular voice — a little breathy, a little squeaky, a little lispy, a little New York — that made her “Little Shop of Horrors” heroine an instant icon. It wasn’t a register she’d planned on hitting at the audition. It just came out of her in the moment, and it stuck.
“I didn’t think about it,” Greene, 75, said in a recent interview. “It was weird, I mean, I don’t know where half of this stuff came from.”
Back on tour with “Little Shop”
In her long and robust career on the stage and screen, Audrey is perhaps Greene’s defining role. Her tragicomic shopgirl of skid row belted her way into audiences’ hearts off-Broadway in 1982, and then in Frank Oz’s 1986 film opposite Rick Moranis.
The catchy musical about that flesh-eating plant is never too far in the rearview either. Every few years it seems she’s beckoned for an encore. In 2015, she reprised the role for three sold-out shows, with Jake Gyllenhaal playing Seymour.
Starting this weekend, she’ll be making stops around the country for the next few months for 40th anniversary screenings, from Seattle (Aug. 18) to Atlanta (Nov. 13). Performances of “Somewhere That’s Green” have been promised too.
“Somewhere That’s Green”
That aching ballad about wanting more, aside from being one of the big showstoppers, holds a special place for Greene. She remembers first listening to it on the unemployment line, waiting to get her check, and quietly singing along.
“I just knew there was an Audrey inside of me waiting to be born,” Greene said.
She carried that feeling to the audition where composer Alan Menken jumped in to play the piano with lyricist Howard Ashman, already her great friend, looking on. When she finished, everyone was in tears.
Getting the role wasn’t any sort of immediate windfall either. When they started at the WPA Theatre in New York, she was being paid $50 a week for a month of rehearsals and two months of shows off-Broadway. But it was a hit. One night, Steve Martin, who would later play Audrey’s abusive dentist boyfriend in the film, even came to see it with Mary Tyler Moore.
On the stage, she performed “Somewhere That’s Green” sitting on a trash can. For the film, Ashman wrote the number to be staged like the Leslie Caron and Cyd Charisse numbers they both loved, where a character walks into a room and suddenly they’re in a different outfit for the song.
“You would think I would just have been floored and so excited that he gave me this gift,” she said. “Instead, I call him up and I’m crying my eyes out. And I’m saying, wait for this, ‘Where’s my trash can?'”
Ashman, she said, just laughed and assured her that they’d elicit the same response when the camera pans out to reveal she’s still on skid row. Ironically, this whole exchange happened before she’d even officially been cast in the movie.
How the audience saved Audrey from dying
The story of how the film was made is long and bumpy. John Landis was originally attached to direct, then, briefly, Martin Scorsese, before it found its way to Oz. Greene’s participation was never a given, either. Producer David Geffen wanted to get a “bigger name,” like Cyndi Lauper, on screen.
“I never thought I would have gotten the film,” Greene said.
But it’s hard to imagine anyone else turning in a performance as distinctive. Test audiences loved her Audrey so much that they wholly rejected an ending in which she dies.
“I love that death scene, personally,” Greene said. “But I had an inkling, you see, because Frank directed the Audrey for the screen more heroine-like.”
He’d taken out lines from the play like “you don’t meet nice boys when you live on skid row,” she said in Audrey-speak. She thinks it set her up a little differently. Then at the end, there’s the line “when I die, which should be very shortly.” On stage, she said it to the audience. In the film, she says it to Seymour. It’s more intimate and serious.
“Frank thinks it’s because we didn’t take a bow, like in the play, but I think it’s because it’s just the line is interpreted two different ways. One sets it up that this is silly and I’m OK, and the other one is it’s real and it’s touching,” she said.
Oz ultimately relented and they shot a happier conclusion. Now, Greene just likes that they both exist (the original in a director’s cut).
Keeping Howard Ashman’s memory alive
Remembering “Little Shop” is also a way to remember Ashman, who died of complications related to AIDS in 1991. Their friendship was one of many laughs, songs and adventures. He even took her on her first trip to Paris.
“We got into my room and he put on a bubble bath, because he knows I love bubble baths. I got into the bath, he gave me Champagne, he gave me caviar, he put on Piaf,” she said. “We had separate rooms, of course, but we were close, so what can you do? And I’m from the theater, so I’m not modest.”
He also looked out for her. When they were drawing up contracts for the “Little Shop” stage run, all she could think about was making sure London was in there. Unbeknownst to her, Ashman had also given her a half point of the profit, “because I created Audrey,” she said.
“That’s how generous and kind he was and how much he loved me,” she said. “Everybody loves Audrey because we, I, loved her first. And everybody loves “Little Shop” because we put so much love in it … I am so grateful and very humble because when they love ‘Little Shop’, they keep it alive, and they keep Howard Ashman alive.”
