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I picked out quite a few pictures I found, some of actual photos taken in the 60s and some modern versions. Doing this allowed me to learn about how women not only dressed in that period, but how they did their hair and makeup too.
I decided my characters age would be somewhere in her early 20s, so I wanted to keep my style quite young looking.  My hair would have the necessary whilst still framing my face. My makeup would be simple yet glamorous because of the distinctive winged eyeliner and red lipstick.

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I picked o

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I picked out quite a few pictures

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I picked out quite a few

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Watching videos like this of the original broadway cast meant we could draw inspiration of how they chose to portray their characters.
Also this was useful for singing and harmonies, but we know as a group how man split parts we need and lyrics are to be learnt individually.

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The meek shall inherit is a crucial number, all of the Ronettes get a chance to interact with Seymour. It may seem as though we're being kind but in reality we just want to have a part of his wealth and fame. And in a way, we see it as though we helped him become who he is because we encouraged him to invest in Audrey ll and full-fill every command for blood.

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The Meek Shall Inherit - Brian Michael Hoffman (Little Shop of Horrors)

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www.brianmichaelhoffman.com Little Shop of Horrors Brian Michael Hoffman with Dave Schoonover, Chloe Campbell, Renee Veronica Freeman and Karissa Harris Hooker-Haring

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When it came to looking for inspiration for choreography, we looked at this one. Along with other sources, we managed to gather ideas and also noted the mannerisms of the Ronettes and how they interacted on stage.

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Skid Row Downtown   Little Shop of Horrors   July 2, 2015   Encores! Off Center Cast

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This is Jake Gyllenhaal singing on stage In Little shop of horrors. The video is owned by The Little Shop Archive: https://www.youtube.com/channel/UC3Joc--1KAhZb2pJq2CkoLg If you love Jake as much as I do then check out my Jake Gyllenhaal facebook page: https://www.facebook.com/pages/Jake-Gyllenhaal-FanPage/379097725595053

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When interacting with other characters I made sure to portray my characteristics continually. I know consistency is important in order to make it believable to the audience. I wanted people to watch me and understand what my characters intentions are but at the same time question what each line I say 'really means'. Because acting as a 'greek chorus' we are simultaneously a group and individuals. We move together and dance in synchronisation, however we almost never agree with any other characters. We are a force to be reckoned with.

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Being the fourth ronette when there is originally only meant to be three. I knew I needed to show my importance and relevance in the musical.

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I was cast as one of the Ronettes, my character name is Tiffani.

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http://www.latimes.com/entertainment/arts/culture/la-et-cm-screen-to-stage-musical-movie-adaptations-pictures-photogallery.html

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Many films are made into musicals. It is important we respect the fact that Little shop was first written as a film and then eventually adapted into a broadway musical which proved a success.
We will be using the musical as our outline because it is more adequate as performers to pick up on how a stage production is made, rather that the film. We need to see how the actors interact with the audience in order to play a convincing character. Performing on stage can be very different to acting for film or tv because when you're in a theatre, there is no camera following you to do a take for as scene. You are essentially always on camera when you're live because the audience aren't going anywhere, they can choose to watch whatever part of the stage they like, so staying in character is a must

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                                                                    Shrek

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                                                                    Shrek

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"Shrek" puts a grumpy ogre spin on the classic fairy-tale formula of a charming prince who travels with his noble steed to rescue a princess and break her curse with true love's kiss. The first DreamWorks film to be adapted as a stage musical, "Shrek" ran on Broadway from 2008 to 2010.

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                                                                                      Heathers

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                                                                                      Heathers

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When Veronica, disillusioned by the reality of popularity, clashes with queen Heather Chandler, her desire for revenge takes an unexpected homicidal turn with the help of her new boyfriend, J.D. Based on the 1988 film "Heathers," the musical adaptation opened off-Broadway in March.

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                                                                  Legally Blonde

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                                                                  Legally Blonde

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Fashionista sorority president Elle Woods takes Harvard Law School by storm when she follows her ex-boyfriend there in "Legally Blonde." Based on the 2001 film, the musical ran on Broadway from 2007 to '08, earned seven Tony nominations and spurred a reality TV series.

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                                       Priscilla, Queen of the Desert

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                                       Priscilla, Queen of the Desert

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"The Adventures of Priscilla, Queen of the Desert" is a 1994 film about two drag queens and a trans-woman on a journey across Australia in Priscilla, a tour bus, to perform a drag show. The musical adaptation premiered in Sydney in 2006 and ran on Broadway from 2011 to 2012.

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http://ew.com/article/2015/01/22/alan-menken-disney-songs/

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The play opens with a prologue, which takes the form of a messenger telling the audience to attend to the action to come, and to heed its lesson.

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This play, named 'Everyman' is alike to Little shop in some ways. It personifies human traits just like how in the musical, Audrey ll grows and then is able to speak English and communicate with many of the characters. The plant is also able to understand and show human like emotions.
Throughout Little shop, morals and ethics and completely ignored by in fact all of the characters. There is no one who is the 'good guy' or does anything to help or prevent any of these terrible events. Everyone living on skid row, from Mrs Mushnik, to Bernstein, to the Ronettes, are just witnesses and bystanders to the crimes.

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http://study.com/academy/lesson/gender-stereotypes-in-the-media.html

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We also looked at what the characters wore in the musical as well as the film. Also noticing what the style of fashion was back in the 60s educated us of that era. This helped to give us inspiration.

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Together, we discussed what we thought would suit the characters as individuals and what would show off their personality. Because costume means a lot in theatre, when the audience is not always so close to the stage, it is better to be over the top with clothing choices.

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So me and Amber both were appointed to be on costume team.
This involved us making a first draft of possible idea we had, mainly for the main characters. So below, the yellow sheets were the initial thoughts we had on what we thought everyone should wear.

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                                          Costume- production role

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                                          Costume- production role

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Seymour: Rick Moranis
Audrey: Ellen Greene
Mr Mushnik: Vincent Gardenia
Orin Scrivello: Steve Martin
Audrey ll: Levi Stubbs
Ronette: Michelle Weeks
Crystal: Tichina Arnold
Chiffon: Tisha Campbel-Martin

Bill Murray also made an appearance as one of the dentists patients.

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https://en.wikipedia.org/wiki/Little_Shop_of_Horrors_(1986_film)

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It is clear to see, according to this text on the left. That the Ronettes were truly designed to watch over the events. Even if they are tragic, they do not try and stop anything, they just let it happen. Throughout the songs they are constantly reminding everyone to watch out, "Everybody better beware"

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The music that they sing and the music in the background and the type of mask they wear also go together with the mood and atmosphere, as the situations develop. Like in Oedipus Rex, the chorus of the classical Greek theater would consist of representative citizens of the society which the drama was supposed to represent. Through the dramatic performance, they would occupy the central circular place called orchestra. - See more at: http://www.bachelorandmaster.com/globaldrama/role-of-chorus-in-oedipus-rex.html#.WSX8RVPyt-U

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http://www.gradesaver.com/mankind-medieval-morality-plays/study-guide/the-morality-play

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'Morality plays were popular in England for a long period which begins in the late medieval period and continues right up to the end of Shakespeare’s writing lifetime – from about 1400 to 1600. The word “morality” points the reader towards the genre’s central concern: dramatizing simple stories and events in a way which reinforces or makes manifest Christian morals and teachings. More generally, “morality” can refer simply to the matters of good versus evil, right versus wrong, and indeed, the morality plays often centrally focus on the battle between good and evil.'

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'When you think of the classic image of the 1950s American housewife, what comes to mind? Odds are good that she's wearing a dress, has perfect hair and makeup, and might even be cooking or serving a meal. Of course, it's entirely unrealistic to imagine that every American housewife of the 50s looked this way, particularly after managing a house and taking care of children all day, so why is it that this is the classic image? The answer to that question has a lot to do with the media and the ways in which gender stereotypes are portrayed.

Audrey is definitely portrayed as a traditional 'housewife' in the 1960s. But her character is exaggerated for comedic purposes but this also highlights the problems very much present in that era.  Then we have Seymour and Orin who play opposites as male roles go in the play, however in the end, is Seymour much better than Orin if he is feeding people to the plant. And Seymour only feeds Orin to Audrey ll because he wants Audrey all to himself. Yes he his somewhat 'saving' her from the dentists abusive habits. In reality of course, this would never happen because there is no such thing as a talking man-eating plant.

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https://en.wikipedia.org/wiki/Typecasting_(acting)

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'Some actors embrace typecasting. Fans often expect a particular actor to play a "type", and roles which deviate from what is expected can be commercial failures. This beneficial typecasting is particularly common in action movies (e.g., Jackie Chan, Jet Li, Steven Seagal, Jean-Claude Van Damme) and comedies (Charlie Chaplin, Adam Sandler, Chris Rock, Julia Roberts) but much less common in drama, although many B-list and C-list character actors make careers out of playing a particular dramatic type, and it is often suggested to would-be actors that they audition for roles that fit their "type"

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When we look at the plant that was used for the musical, many electronics were used that would have cost so much, so that option is not in our budget.
And for the film they had many people operating the plant to make every single move look realistic. Unfortunately we don't have enough cast members to consider this option either.
One way we had considered portraying the plant was by possibly painting the actor and having them on stage at all times. This option would mean we wouldn't have to build a plant. But we soon realised that in order for the actor playing Audrey ll to be in other numbers such as skid row, she wouldn't be able to be painted in time.
So the final decision was made to build a realistic looking venus fly trap plant. The actor playing Audrey ll would be off stage providing vocals and we would decide who would be able to be plant operator.

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'Seymour Krelborn and his colleague, Audrey, work at Mushnik's Flower Shop in a run-down, rough neighborhood referred to as "Skid Row" in the slums of New York City. They lament that they cannot escape the neighborhood. Struggling from a lack of customers, Mr. Mushnik decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant, which he dubbed "Audrey II", from a Chinese flower shop during a solar eclipse. Attracting business to Mushnik's shop, the plant soon starts dying, worrying Seymour. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive.

All the scenes were filmed at Pinewood Studios in England, making use of every sound stage there, including the 007 Stage. Oz and his crew did not want to shoot on location as it would tamper with the fantastical mood of the film. Part of the giant 007 stage was used to film the 'Suddenly Seymour' number.

During production, director Oz shot a 23-minute ending based on the off-Broadway musical's ending. However, after audiences at the preview screenings did not react positively to it, the ending had to be rewritten and re-shot for the theatrical release with a "happier ending'.'

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They were names the crystals after leroy bates daughter, crystal bates, Barbra ( one of the girls cousins)

‘He’s a rebel” was released in 1963, written by gene pitney

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had a no.1 where  1 million copies were sold

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Little shop playwright, Howard Ashman actually was involved in the creation of well known Disney films such as 'The little mermaid' and 'Beauty and The Beast'. Both titles which have dark underlining meanings to them that Walt Disney intended to show subtly.
The song 'Somewhere thats green' actually helped set the scene for 'Part of your world' from 'The little mermaid'.

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https://www.thoughtco.com/what-is-a-black-comedy-movie-4088099

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'Typically, a black comedy – or dark comedy – is a film which takes a heavy, controversial, disturbing, or generally off-limits subject matter and treats it in a humorous manner. Some black comedies set out to shock their audiences with their unexpectedly humorous take on a serious subject. In many cases, the goal of a black comedy is to shed light on controversial or disturbing subject matter through humor.  There are also many films that are drama, thriller, or horror films that nevertheless contain memorable moments of dark comedy, including Fargo (1996), Fight Club (1999), and American Psycho (2000).'

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It is important to note that bringing Audrey ll to life played a big part of making 'Little shop of horrors' feel and look like a dark comedy. Also representing this through individual characters is very important for our show. Not just the main characters but everyone, because then the audience will feel that we are all a unit yet also have a lot of diversity.

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Dark comedy, also known as black comedy, Is commonly represented through humour and makes light of commonly serious topics.

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https://www.youtube.com/watch?v=gfJbsS_ixGU

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Formed in

-before they formed as a group they were individual back up singers

-1964 rolling stones opening number

be my baby was one of their well known singles

little shop contextualised: motown, rock and roll and gospell

the song uptown influenced downtown.

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This piece of research above is  relevant because it helps me to understand where the origins of the greek chorus come from and how LSOH was inspired.
It uses the word 'disguised god', which shows us that the chorus are no good and easily manipulated by disguises. Similarly to how the Ronettes are lured in by Audrey ll.

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Little shop of horrors overall is strongly linked to the greek chorus.
Mainly the Ronettes but every character seems to have connections to this.
The way we see it depicted is very much to do with taking sides. We learn that The Ronettes are actually siding with the plant, but I will discuss this in more detail in my character analysis.

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'The chorus of the Bacchae are from Lydia and Phrygia, female followers of Dionysus who have travelled with the disguised god throughout various lands of Asia Minor before arriving with him in Thebes. '

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http://www.didaskalia.net/issues/8/13/

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In the 1982 off broadway, wasn’t actually on broadway but was so big and popular

director fired everyone when it was cancelled but kept seymour actor ( hunter foster)

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                                                                            Character analysis

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                                                                            Character analysis

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http://www.puppetsbostonguild.org/puppetry.html

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'In music, chorus refers to the organised body of singers in opera, oratorio, cantata, and church music; to compositions sung by such bodies; to the refrain of a song, sung by a group of singers, between verses for solo voice; and, as a medieval Latin term, to the crwth (the bowed lyre of medieval Wales) and to the bagpipe. '

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'The use of the group chorus has been revived in a number of modern plays, such as Eugene O'Neill'sMourning Becomes Electra (1931) and T.S. Eliot’s Murder in the Cathedral (1935).'

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https://www.britannica.com/art/chorus-theatre

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'In musicals, the chorus, a group of players whose song and dance routines usually reflect and enhance the development of the plot, became increasingly more prominent during the 20th century. During the late Victorian era, musical comedy was characterised by thin plot, characters, and setting, the main attraction being the song and dance routines, comedy, and a line of scantily clad chorus girls. Their performances provided an extravagant bonus at the beginnings and ends of songs or special dance numbers, and they were considered the flashy sex symbols of the day. '

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                            Dark Comedy 

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                            Dark Comedy 

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'By 1777 there were four puppet companies in the West End as well as an oriental-style shadow theatre show called 'Ombres Chinoises' (or 'Chinese Shadows'). The famous impresario Philip Astley managed one of these for a while and included shadow theatre in an entertainment he put on in Piccadilly.

By the end of the century puppet shows at large fairs (many of which featured the marionette version of Mr Punch) almost died out because they were too expensive to operate. Instead, the glove puppet version of Punch and Judy began to be a familiar sight in portable booths on the streets of London.'

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http://www.vam.ac.uk/content/articles/h/history-of-puppetry-in-britain/

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Skid Row (Downtown) - Original Broadway Cast - Little Shop - 09/21/2003 Preview Performance

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Here is "Skid Row (Downtown)" from the September 23, 2003 preview performance of the original Broadway production of "Little Shop of Horrors" at the Virginia Theatre in New York. After the failed Florida try-out earlier in the year, the video of which is posted here (http://youtu.be/irGXTUKowZk), the show was totally scrapped and reproduced from the ground up, with a new director (Jerry Zaks), new choreography, new set-design, and a new cast.

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Suddenly Seymour (Lee Wilkof and Ellen Greene - Little Shop of Horrors - Off-Broadway - 1982/10/14)

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Original cast members Lee Wilkof and Ellen Greene sing the hit song, Suddenly Seymour, from the Drama Desk, Drama Critics and Outer Critics Circle award winning musical, Little Shop of Horrors. Little Shop of Horrors - Off-Broadway - 1982/10/14 Music by Alan Menken Book and Lyrics by Howard Ashman

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https://en.wikipedia.org/wiki/Little_Shop_of_Horrors_(musical)

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"Call Back in the Morning" – Seymour and Audrey
"Suddenly, Seymour" – Seymour, Audrey, Chiffon, Crystal, and Ronette
"Suppertime" – Audrey II (with Seymour and Mushnik speaking)
"The Meek Shall Inherit" – Company
"Sominex/Suppertime" (reprise) – Audrey and Audrey II
"Somewhere That's Green" (reprise) – Audrey (with Seymour speaking)
"Finale Ultimo ("Don't Feed the Plants") – Company

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Prologue ("Little Shop of Horrors") – Chiffon, Crystal, and Ronette
"Skid Row (Downtown)" – Company
"Da-Doo" – Chiffon, Crystal, and Ronette (with Seymour speaking)
"Grow for Me" – Seymour
"Ya Never Know" – Mushnik, Chiffon, Crystal, Ronette, and Seymour
"Somewhere That's Green" – Audrey
"Closed for Renovation" – Seymour, Audrey, and Mushnik
"Dentist!" – Orin, Chiffon, Crystal, and Ronette
"Mushnik and Son" – Mushnik and Seymour
"Sudden Changes" – Seymour
"Feed Me (Git It)" – Audrey II and Seymour
"Now (It's Just the Gas)" – Orin and Seymour
Coda  – Chiffon, Crystal, Ronette, and Audrey II

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Original Off-Broadway cast[edit]

Seymour Krelborn – Lee Wilkof

Audrey – Ellen Greene

Mr. Mushnik – Hy Anzell

Chiffon – Marlene Danielle (replaced after two weeks by Leilani Jones)

Crystal – Jennifer Leigh Warren

Ronette – Sheila Kay Davis

Audrey II (voice) – Ron Taylor

Audrey II (manipulation) / Wino #1 – Martin P. Robinson[9]

Orin Scrivello, Narrator, Wino #2, Customer, Radio Announcer, Bernstein, Mrs. Luce, Skip Snip, and Patrick Martin – Franc Luz

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'The musical had its world premiere Off-Off broadway on May 6, 1982 at the Workshop of the Players' Art (WPA) Theatre, playing there until June 6, 1982. It opened Off-Broadway at the Orpheum theatre in Manhattan's East village on July 27, 1982. The production, directed by Ashman, with musical staging by Edie Cowan, was critically acclaimed and won several awards including the 1982–1983 New York Drama Critics Circle Award for Best Musical, the Drama Desk Award for Outstanding Musical, and the Outer Critics Circle Award.[3] Howard Ashman wrote, in the introduction to the acting edition of the libretto, that the show "satirizes many things: science fiction, 'B' movies, musical comedy itself, and even the Faust legend".[4]

The production ran for 5 years. When it closed on November 1, 1987, after 2,209 performances, it was the third-longest running musical[5] and the highest-grossing production in Off-Broadway history.[6] Though a Broadway transfer had been proposed for the production, book writer Howard Ashman felt the show belonged where it was.[7] Since it was not produced on Broadway, the original production was ineligible for the 1982 Tony Awards. The producers were the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization. The Audrey II puppets were designed and operated by Martin P. Robinson.[4]

An original cast recording, released in 1982, omitted the songs "Call Back in the Morning", and "Somewhere That's Green" (reprise), and had abridged versions of "Now (It's Just the Gas)," "Mushnik and Son," and "The Meek Shall Inherit." It also shifted the location of the song "Closed for Renovation," appearing in the show after "Somewhere That's Green" while appearing on the cast album after "Now (It's Just the Gas)" to serve as an upbeat bridge from Orin's death to the Act II love ballad, "Suddenly, Seymour".[8] The recording features Leilani Jones, who replaced Marlene Danielle as Chiffon two weeks after the musical opened.'

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In this, we see similar depictions of the relationships portrayed in little shop. Although there are some differences, they were both set in a similar time period so we can take that into consideration.

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Scene from A Streetcar Named Desire (1951)

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This research about the history of broadway is very relevant  because it shows how theatre has adapted and evolved. Also we see many of the traits of Melodrama used in 'Little shop of horrors'. It is important that we recognise the techniques that were used for the story development of little shop.

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https://www2.southeastern.edu/Academics/Faculty/cfrederic/TheatreHistoryRestoreThruPres.htm