Forty years after Little Shop of Horrors first charmed audiences with its irresistible blend of comedy, horror, romance, and unforgettable music, Ellen Greene still speaks about Audrey with the same warmth and affection that made the character an icon. As the actress who originated Audrey Off-Broadway in 1982 and reprised the role in Frank Oz’s beloved 1986 film, Greene remains at the heart of one of musical theater’s greatest cult classics.
This month on August 18th at Seattle’s Fifth Avenue Theatre, fans will have the rare opportunity to celebrate the film’s 40th anniversary alongside Greene herself during a nationwide screening tour produced by Scott Stander. The event includes a live interview, a performance of Audrey’s signature ballad “Somewhere That’s Green,” and exclusive VIP meet-and-greet opportunities.
When I spoke with Greene, it became immediately clear why Little Shop of Horrors continues to resonate with audiences across generations.
“It’s because it has heart,” Greene said. “It has great music, a wonderful book, and it pulls you into this magical land full of whimsy that also has a very strong moral underneath. It seems simple, but it’s actually a very complex world.”
Many fans first discovered Audrey through the film, but Greene reminded me that the character was born on the Off-Broadway stage four years earlier.
“I created Audrey,” she explained. “She was just a sweet brunette on the page. Howard Ashman loved me and allowed me to create her.”
That collaboration with lyricist and book writer Howard Ashman became one of the defining creative partnerships of Greene’s career. Audrey wasn’t simply written for her—Greene built the character from the inside out.
When asked about her inspiration, Greene dismissed the idea that Audrey came from anyone else.
“There was no inspiration,” she said. “She came from inside. I just knew who she was waiting to be born.”
She recalled standing in the unemployment line when she first heard “Somewhere That’s Green.”
“The song touched me immediately,” Greene said. “I usually have to learn a song, but this one came out naturally. I knew who Audrey was inside.”
Greene went on to describe the remarkable amount of work that went into physically creating Audrey—from gaining weight to soften the character’s appearance to choosing her wardrobe, hairstyle, makeup, and even the unique speech pattern that audiences instantly recognize.
Perhaps even more impressive was the technical challenge of filming alongside Audrey II.
Working opposite the massive puppet required Greene and Rick Moranis to perform entire scenes at just 12 frames per second so the footage would appear natural when sped up in post-production.
“I had to learn to act, sing and dance in 12 frames per second,” Greene recalled. “Frank Oz taught me something completely new, and I’m very proud of that work.”
She credits Oz’s direction as one of the film’s greatest achievements.
“Only Frank Oz could have pulled off that plant,” Greene said. “There was no CGI. Everything was done by people. He’s brilliant. I can’t tell you how highly I think of Howard Ashman and Frank Oz.”
Despite starring alongside comedy legends Steve Martin, Rick Moranis, John Candy, Bill Murray, Vincent Gardenia, and others, Greene said the production wasn’t filled with constant laughter.
“It was actually a very serious set,” she said. “Everyone loved the work, but making that film was a real undertaking.”
She especially enjoyed filming her memorable “Yes, Doctor, Sorry, Doctor!” sequence opposite Steve Martin.
“He takes comedy very seriously,” Greene said. “And so do I.”
One of Greene’s favorite memories remains filming “Suddenly Seymour.”
She described the beautifully designed set—complete with grass growing through cobblestones—as one of the most romantic environments she’d ever worked in.
“We did 53 takes walking up those steps,” she laughed. “I had a good bum after it.”
Our conversation also touched on the film’s famous ending.
Greene explained that the original ending mirrored the stage musical, where Audrey and Seymour both die and Audrey II ultimately conquers the world. However, test audiences reacted negatively after Audrey’s death.
“They loved the film until I died,” Greene said with a laugh. “Then they lost the audience. Rick and I had to come back after months of filming to shoot the new ending—the one everyone knows today.”
Although many productions have interpreted Little Shop differently over the decades, Greene remains focused on the original intentions behind Ashman’s work.
“The moral is about greed, power, fame, and money,” she explained. “If that’s what you’re seeking, you’ll become someone you don’t like. It’s about ethics, integrity, authenticity, and truth.”
For Greene, Audrey remains much more than a quirky musical character.
“She’s the heart of the play,” she said simply.
Before ending our conversation, I mentioned another personal favorite—1990’s Pump Up the Volume, where Greene played the unforgettable English teacher.
She smiled.
“It seems to be having a little resurgence,” she said. “I loved working with Christian Slater and Samantha Mathis. I really loved that whole experience.”
Greene then left me with a message that extends far beyond any single film or performance.
“You only have one life,” she said. “Be authentic. Appreciate what you have. Be kind, love people, tell them you care, and celebrate who you are.”
Forty years after Little Shop of Horrors first bloomed on movie screens, Ellen Greene’s Audrey continues to remind audiences that even in a world filled with giant man-eating plants, the most powerful stories are still about hope, love, and finding somewhere—or someone—that feels like home.
STG Presents Little Shop of Horrors’ 40th Anniversary special screening and Q & A on August 18th at the 5th Avenue Theatre. Go to stgpresents.org
