Matt Johnson & The New Jet Set will perform their jazz versions of many classic Disney songs at the Sierra Madre Playhouse beginning Friday, March 22nd and continuing through Sunday, March 24th. Johnson has created a multi-media show that includes stories, anecdotes from his many years as being a Cast Member at Disneyland and many of the classic songs we all know and love.

Last week I spoke with Johnson (who drums for multiple artists including Jane Lynch) about his lengthy relationship with all things Disney and the songwriters and songs that make us all light up when we hear them. What follows are excerpts from our conversation that have been edited for length and clarity. To see the full interview with Johnson, please go to our YouTube channel (where you can also see an interview with Alan Menken).

Q: Duke Ellington famously sings in one of his compositions, “It don’t mean a thing if it ain’t got that swing.” What does the Disney songbook mean with and without swing? [The lyrics were by Irving Mills]

Listen, the Disney songbook doesn’t need my interpretation to stand alone in the annals of memorable music. We just happen to interpret it in our chosen vehicle. We take those memorable melodies and just put them in the jazz machine and crank them up and what comes out is usually very swinging. A lot of the music lends itself to swing. There’s lots of lullabies and happy children’s songs and some marches and some of them naturally lend themselves to swing. Then others we choose to have a little more fun with them. In one instance the beautiful ballad A Dream is a Wish Your Heart Makes from Cinderella. We’ll do it as a samba and play almost a double time rhythm underneath it. So sometimes the swing just happens. And other times we consciously choose to put it in a style that makes us even more happy.

Some of those films had great opportunities for swing. They did have Louis Prima as a voice in The Jungle Book, and they had Peggy Lee write songs and perform them for Lady and the Tramp. But those were exceptions. Do you think that there was a conscious decision in the history of Disney songs not to go into a swing mode? Or do you think that the films didn’t necessarily lend themselves to that style?

I know from being a long time Disney cast member that story is the most important thing. So whoever was in charge whenever a production was in the making, they thought about what would be the best way to convey the story. So conscious decision – definitely. But just crowbar in swing music? No.

By the time you get to Toy Story with someone like Randy Newman, you have a composer who has jazz in his bloodstream.

He does. You’ve Got a Friend in Me has very much a swingy bounce to it. I think it’s definitely a conscious decision to play jazz and or any other style. I’m thinking now Ratatouille – all Parisian. Michael Giacchino’s orchestration with lots of accordion and clarinet. Very Parisian, almost a gypsy jazz appropriate for the setting in the story it tells.

How do you see the Disney songbook having evolved over the years? What do you like most about the way it was, and what do you like most about the way it is today? 

I have had the wonderful experience of seeing it in the audience’s faces as we’ve performed the show a few times now. You can’t separate the music from the time when you experienced it in the movie theater. For those of us of a certain age, that means a really grand occasion. Back before you could stream a movie on your watch, it was a really big deal to go to a theater. We always looked forward to the Disney movies. Growing up in Southern California we had the opportunity to go to Disneyland. So we saw all the the tie-ins with the attractions and all the visuals. And, of course, we saw the characters. We also had the Wonderful World of Color and the Wonderful World of Disney. The music is just one of many, many emotional touchstones that are layered in us.

If there was any one team of composers or songwriters for whom the Disney catalog is best represented, it’s going to be the Sherman Brothers: Richard and Robert Sherman. What do you think makes their songs more beloved, or given them the ability to stand the test of time above perhaps any other songwriter’s songs who have appeared in Disney movies? 

First of all, we have to agree to the premise of your question are they, in fact, the greatest? And I think the reason both of us initially say yes, without a doubt, is because of the volume of work that they did when the studio was young or in their heyday. There was a period of time when Disney wasn’t making great movies, but everything before 1975 rocked. Maybe even earlier than that. Aristocats came out in 1970 and certainly everything that preceded it was just fantastic.

Walt referred to them as the boys. He’d storyboard with some of his artists and he said, let me get the boys in here, and then we’ll figure out where we’re going from here. The stories that I know, and even the documentary footage that I’ve seen, there was such a collaboration [with] the brothers. To see one at the piano and the other one scratching down something and changing and getting stuck on a word and seeing that collaboration was personally very inspiring. 

Doesn’t it feel like Alan Menken is the heir to what the Sherman Brothers were able to accomplish?

In and through the collaboration with his lyricists…Yes. All of those contemporary things from Beauty and the Beast and The Little Mermaid. I’m no different than most. I’m really affected emotionally performing this music and having the responsibility of giving a little insight through my narration. Instead of saying, “Now we’re going to play I Just Can’t Wait to Be King,” I give a little background on the music and the production or something that I’ve read that’s interesting that maybe we don’t know. I have to be careful that I don’t trigger an emotional little thing in me that becomes distracting or, even worse, makes me emotional. 

Don’t you feel like this music allows us to revisit our childhood in some way, shape or form?

Every single time. My friend Charles Phoenix put it so perfectly, “Every time I go there, I feel all the ages I’ve ever been.” Because he remembers encountering the Disney magic at all these different points in his life. And also remembering the people in your life that are no longer with us. When you think about going there with your grandparents, I mean, that’s a powerful memory, you know? It’s just part of who I am. 

You can’t walk through the park without hearing music everywhere. A lot of it’s piped in now, but walk Main Street. You know better than anyone, that’s where you often hear live music.

Right. Straw Hatters are still out there. From season to season, sometimes they bring back a couple of what we call the break down groups: The Firehouse Hook and Ladder Gang. It’s been a while. The sax quintet who dressed in that Keystone Cops? We say Keystone Cops, but, the police uniforms from the previous century. The pre-recorded music there is all early, sort of parlor music. It’s not exactly ragtime yet. It predates ragtime. It’s happy family music from the turn of the century.

A lot of the music that that you and I know and that people probably have at least half a generation below us embrace as well, is stuff that kids today don’t necessarily have any relationship to unless their parents held on to old DVDs or they would catch the films on Disney Plus. What do you see in in terms of young people who come to these concerts and their response to these songs that they didn’t grow up with the same way you and I did?

There’s one thing that happens in general. I’m reminded of my friend Tony Guerrero, who says, “Even if you don’t think you’re familiar with jazz, if you witness a live performance, you can’t help but like it.” There’s just something about live musical performance that’s very powerful. Something you and I would take for granted because we sat through innumerable concerts, but young people wouldn’t necessarily. We try to have a couple of the contemporary Disney songs in there.

My indoctrination into the world of Disney took place when my aunt took me at three years old to go see Mary Poppins. That was the first time I became aware of movies. It was the first time I became aware of musicals in any way, shape or form. Obviously, the first time that I became aware of Disney in any in any measurable way. It is my understanding that you have worked with Dame Julie Andrews.

I was performing with a group called the Palm Springs Yacht Club in the early 90s. It was a musical comedy group, but we worked for maybe 3 or 4 years as a warm-up act for a handful of touring celebrities at the time, including Julie Andrews, but also the Smothers Brothers and comedian Rich Little.

We traveled one whole summer with Julie Andrews. It was my personal experience that she was wonderful and had a wonderful sense of humor. She was appreciative of the small supporting role that we played in her show. She traveled with an ensemble as well. We were traveling separately. Her band was on a standard tour bus at the time. She drove in a limousine and had a driver. This was the caravan. It wasn’t uncommon that the band, while on the road, their wives would come out sometimes and join the tour for the weekend and fly home. I overheard a conversation where she offered one of the guys the limo so he and his wife could travel from one venue to the next together to have some time together. She road on the bus. That said a lot about who she was. She was always very, very good humored and always made us feel as though our role was valued.

In Richard Sherman’s book, Pursuing Happiness, he tells a story about giving a lecture at USC. As he described it, some smartalec shouted out, “How much money did you make from Winnie the Pooh?” He goes on to tell this story about a girl in Texas who had fallen down a well. As they were trying to rescue her the girl apparently told her mother that she wanted her to sing Winnie the Pooh, because “Winnie the Pooh was in great tightness and he got out and I’m going to get out.” Richard Sherman said, “That moment made me the richest man in the world.” How does music in general, and these Disney songs in particular, make you the richest man in the world?

We just performed our show a couple nights ago. After the show a gentleman came up to me and said, “My dad has Alzheimer’s.” Out of the blue. I never met this guy before. I said I’m very sorry, not knowing where he was going with this. And he said, “He’s been living with us. When I was leaving the house, I said, I’m going to see a Disney show tonight. They’re playing Disney music.” His father, with Alzheimer’s, brightened up and said, “Do you remember when we took you to see The Aristocats?” Now, The Aristocats is not one of the most memorable movies, but it’s a fabulous movie released in 1970, and it happened to be the very last animated feature that Walt Disney would be able to approve for production in 1965. 

He went on to say that his little brother was born and stayed in the ICU for six weeks. [He continued] “When my little brother was able to finally come home my dad took my sister and I out to see The Aristocats.” This person who was suffering from Alzheimer’s was able to tap into that because of his connection to the Disney music. You can’t put a price on that; that I was part of a performance that reminded both those individuals of that story and that he chose to relate it to me.

Knowing how it affects people, how deeply connected people are to this music, it’s a great responsibility. Whether I’m playing at the park or whether I’m playing on the outside with my own band and present this music at the highest level, because I know how people relate to it. It is a gift that I cherish and I don’t take it for granted.

To watch the full interview with Matt Johnson, please go here.

Main Photo: Matt Johnson (Courtesy Matt Johnson)

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Menken has won 8 Academy Awards, 1 Tony Award and 11 Grammy Awards. Fear not, he’s an EGOT with his winning of a Daytime Emmy Award for the song Waiting in the Wings which he co-wrote with Glenn Slater for Rapunzel’s Tangled Adventure. He’s had a variety of collaborators and by any measure a massively successful career.

He will be celebrating that career this weekend when he gives performances of his show A Whole New World of Alan Menken at the Mesa Arts Center in Mesa, Arizona on March 31st and The Soraya in Northridge, California on April 2nd.

Recently I spoke with Menken about his career. Rather than focus on the projects everybody knows (many of which are featured in his show), I opted to ask Menken about some of the lesser-known works of this remarkably successful composer (and sometimes lyricist). What follows are excerpts from our conversation that have been edited for length and clarity. To see the full interview (which includes him singing part of a beautiful song you’ve probably never before), please go to our YouTube channel.

I want to get your perspective on your work by asking you about a lyric that comes from one of the songs that you wrote. The lyrics go: “In the end, it’s only your voice matters. You never hear it, though, for free. You got to pay dues before you choose to be the man you’re going to be.” Those are David Spencer’s lyrics from The Man You’re Gonna Be from your musical adaptation of The Apprenticeship of Duddy Kravitz. At what point did you find your voice and become the man who created the work we’ve all grown to love?

I fell in love with music at a very young age. I was kind of just this kid who was a dreamer. I liked to just play at the piano. But I really hated to practice. I just hated schools. I just didn’t like where it was going. All the men in the family are dentists or doctors or whatever. So I would say that voice always lived inside of me. 

When I was in college I went as a pre-med. I just didn’t want to go into the lecture hall. I just said no. I made a right turn and went to the piano practice room and just made music. I didn’t care. I would say my voice was found there. My voice is not my music. My voice is my love of music and my desire to make it in all the different forms. I take my voice from characters, from stories or from myself.

A Whole New World of Alan Menken began its life almost seven years ago in 2016. How has the show evolved?

For the most part, as I perform it, I really go back to the moment when I wrote them. Just the memories of where they came from. People say, “Oh, Disney composer Alan Menken.” I love Disney. I adore Disney. But I said I would like [the show] to be some medium in which it’s my career. Which contains Little Shop of Horrors or, as you said, The Apprenticeship of Duddy Kravitz or A Christmas Carol or Sister Act or A Bronx Tale or whatever it is. So it really came from wanting to share.

There’s a whole generation of people for whom you are so closely identified with Disney properties, whether they are on screen or on stage. I happen to be a little bit older than that. My first Disney reference is Robert and Richard Sherman. Is there any way in which they were influential on you or were part of your understanding of the Disney history when you started getting involved with Disney?

Obviously they are a big part of the history. To be honest, I go further back to the Disney films that set my imagination on fire like Fantasia. It was that marriage of classical music and images that just forever had me creating images in relation to music. Nobody was more welcoming to me when I came to Disney than Richard Sherman. Richard and [his wife] Elizabeth were so kind. I’ll never forget that.

Just before I started writing the Disney films the AIDS crisis was just this unbelievably horrifying specter that was killing our friends. By that time Tom [Eyen – Kicks: The Showgirl Musical], passed away. First it was Howard [Ashman – Little Shop of Horrors], then it was Tom. Before that it was Steve Brown [Battle of the Giants].

But leading into this time Anna had been born. [I was] bringing my daughter into this world that is fraught with this nightmare because none of us knew the extent of it or how it could be contained and how it was being treated. I would sit with her on the couch and all the Disney classics had come out on VHS. I was putting in Cinderella and Sleeping Beauty or Peter Pan and just sitting with her. Watching them and going this is the ultimate safe space in the world. You just felt it. I felt that from that material.

We are creating the ultimate safe space. We want to be emotionally true and to come from a place of love and redemption and belief in the beauty of life and everything. And so all of that informs, I guess, my approach to Disney.

What stands out to you most about your days at Sesame Street? 

I was making a living. “We have an assignment for you.” Yay! 35 bucks. Yay! I can pay my rent. Literally. Sesame Street was a wonderful, safe space. Howard and I wrote a song which is called The Count’s Lament. “Why I can’t I say ‘w.’ I want to and wish that I could.” Oh, God. Howard’s brilliance. The most special part was being able to write something with Howard for Sesame Street.

I saw an interview you did with Michael Riedel around the time of Sister Act and you said, “I never let go of anything.” What relationship do you have with the works that haven’t been seen as much that maybe will someday have new opportunities? 

Occasionally we would like to nudge them forward if there’s an opportunity. I remember [Music Director/Composer] Lehman Engel always used to say “What’s next?” I will always prefer to just move on to what’s next. I’ve learned that things come back on their own. I didn’t bring back Newsies. Newsies brought itself back. We would see it everywhere. People were just doing the songs from it.

Tom Schumacher [President of Disney Theatrical Group] said, “Look, we should do something. Just a a version for stock or amateur. Just so there’s something because people are cobbling together their own versions of Newsies.” If I sense an opportunity. I go for it.

You mentioned Duddy Kravitz. It’s a really well-written musical. At the same time it’s complex and it’s got a real darkness to it. Duddy is a conundrum because he is one tough, complicated character. It’s going to take context and an audience that really wants to dig into something that’s got some real guts to it.

There was a musical Howard wanted us to do a following Little Shop on stage. It was based on the movie The Big Street and we couldn’t get the rights at the time. He knew that he had a very finite amount of time. He wasn’t telling me at that moment. So I said, we’ll wait. After he passed away I did get the rights. I worked on that twice. But again, the genre, the story, the complexity of it, the the darkness of it, you have to really handle it in just the right way. I’ve learned not to try to force things. Somehow the time will come. I just am a believer in that.

If you dig deep enough on the internet you can find seven demos from The Honeymooners, which I think are some of the best songs that you wrote in your career. 

Those are my music and lyrics. Before I met Howard I was exclusively composer and lyricist. We never got the rights to do it. I am very proud of that. Someday maybe we’ll get those songs out there again. People occasionally record the songs.

There’s a lot of there’s a lot of material that you’ve written that people don’t know unless they were lucky enough to be in workshops or to be at shows. I love the song Hero from Babe.

We have five songs from from Babe.

You have a song, Daughter of God, that you wrote for Emmylou Harris…

Atina: Evil Queen of the Galaxy. It was written for Divine. That one I am now actively reviving and hopefully getting that on stage.

You have such a wealth of material. It seems to me you probably have at least two two discs worth of material, probably more, that could be recorded so people can experience them. Is that something you would like to see happen? 

Sure I would. My daughter Anna, who is a singer, songwriter and producer living in Nashville, one of the things she’s been discussing with me is she would love to have me open up the archives and either record it myself or get other people to record things. So it’s always a possibility that those things will get out there.

I think one reason I have had the success I’ve had is because I’m never resistant to throwing something out. Never. Generally the best thing will always rise to the surface. I’m just that kind of collaborator. It’s not about me. It’s about being part of something bigger and putting your talent out into that. That’s how you maximize your abilities.

I threw out a song I loved from the movie of Hercules. It’s called Shooting Star. Love that song. And then we wrote Go the Distance. We tossed out a song called We’ll Have Tomorrow from the second act of Little Shop of Horrors. But we didn’t need it. Part of its success is that tightness. I mean there are some shows where I’ve written 14 songs for one moment. Leap of Faith – it’s just like the most ridiculous archive of songs.

The Howard Ashman Archives published a two-part interview with you. I don’t know how long ago this was because there was no date on it. But you were asked about Howard and you said, “But I know honestly that he has remained my collaborator in so many ways in the over 20 years since he’s been gone.” Is that still true for you today? How do you feel his presence in your work today?

Occasionally he’ll just be in a dream where we’re writing together. Sometimes in your subconscious there’s almost an alternate arc of your life that’s happening on a subconscious level. When he passed. First of all, I had vivid dreams. I mean, literally on the moment he passed.

Please watch the clip below to see images of Howard and hear the next part of the story.

And then I went back to sleep and that’s when he had passed. Shortly after he and I met in the dream I said, “Tell me what happens. What happens when you die?” He sort of talked me through what his experience was, which was very interesting. Sometimes in the dream we’re writing something, but he’s saying “You’ve moved on. I can’t keep up with what you’re doing or I don’t want to.” I do have a visceral sense of him in my life. I just think in some ineffable way he’s a part of me. He’s just a really deep part of me.

When I think about the things we would have done. Howard wrote Smile. It was really a wonderful score. But people wanted it to be about a beauty pageant in a nice, light, kind of happy story. And it wasn’t. It was about the dark side of a beauty pageant. I was playing [Disney Fan Club Expo] D23. It was already planned that I was playing it. Marvin Hamlisch, who was Howard’s collaborator on Smile, passed away. I said I really should play Disneyland [a song from that musical]. I knew what Marvin and Howard had written for the basic song, but I wanted to sit with the lyric and kind of play what they had written, but put it in my own voice and my own fingers. I wanted to play this from my heart and it was the first time I had a lyric of Howard’s in front of me since he passed that I hadn’t worked with before. It just blew me apart, the memory of that, because he was just on an absolutely incredible level as a writer.

You said on New York Theater Talk that at various stages when you were growing up you wanted to be Beethoven, then the Beatles and then Bob Dylan. What’s been the most satisfying thing about being Alan Menken instead? 

If I think about being me, to be honest, is that I’ve maintained. I’m the same person I was when I was struggling to write. Janice [his wife] and I are together over 50 years now. I talk to my daughters all the time. I’m dad. I love that. I know this thing… Well, Irving Berlin called it my little knack. I think that was his. My little knack is great. I love having it.

I was working on a new song for this Nancy Drew musical I’m writing and I get lost in them. I want to go someplace I’ve never been before. And I want to take an audience someplace they’ve never been before. I’m blessed that I move on. I think it’s a blessing to move on. Even with my concerts there are times I go, “Wow, I’m up here. I’m reliving the last how many years of my life?” 50 years. 50 years of my life. But I see how much it means to audiences and I kind of go there’s something here that’s special. What am I going to do if I’m not doing this one thing? 

Because of what I’ve done in my life, I don’t really have hobbies. So this is kind of it. I’m going to do this or I’m just going to my feet up and I don’t know what am I going to do. You just love the craft, you breathe it in and then you breathe it out and you leave it to others to define what it is you do.

To watch the full interview with Alan Menken (complete with some singing), please go here.

Photos: Alan Menken (Photo by Shervin Lainz/Courtesy AMP Worldwide)

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Coming together to celebrate Schwartz are three performers: Nikki Renée Daniels, Sean Hartley and Gabrielle Stravelli.

Daniels was just about to open in the revival of Stephen Sondheim’s Company when the pandemic forced the closing of theatre. She appeared as Clara in the 2012 production, The Gershwins’ Porgy and Bess and has also appeared in The Book of Mormon and the 2011 revival of Cole Porter’s Anything Goes.

Hartley is the producer and host of Broadway Close Up and also serves as director of the musical theatre division at Kaufman Music Center. He’s written lyrics for multiple musicals including Love and Real Estate with one of my favorite composers, Sam Davis.

Stravelli is no stranger to my columns at Cultural Attaché. She’s a wonderful vocalist and jazz singer whose old soul and song stylings betray her age. She’s insanely talented.

In addition to his theater credits, Schwartz has composed songs for Disney’s Pocahontas and The Hunchback of Notre Dame. He collaborated with Alan Menken on both films. A stage version of Hunchback has been for several years with a well-received production at New Jersey’s Paper Mill Playhouse in 2015.

With songs like Meadowlark, Magic to Do, Day by Day, Popular and Colors of the Wind, there will be plenty of material to choose from and opportunities for the cast to shine.

Tickets are $15 and allow for viewing for 48 hours. After the performance there will be a Q&A with Hartley.

Photo of Stephen Schwartz by Ralf Rühmeier/Courtesy StephenSchwartz.com

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So what do they do? A press event where two songs are previewed (Downtown and Somewhere That’s Green.) Then it was time to talk. So here are excerpts from my conversations with the cast and director of Little Shop of Horrors.

Mj Rodriguez plays Audrey. She is best known for her role as Bianca on Pose.

It was definitely a show I wanted to be a part of. Before this happened I always thought I’d be one of the Ronettes.  This is the best surprise I could have gotten. Playing Audrey and being a woman of color and not being a stereotypical blonde, I think we’re stepping out of the range of that and not pinpointing women to be dumb blondes.

George Salazar plays Seymour. He was most recently seen in Broadway’s Be More Chill.

I sang Suddenly Seymour with a trans actress at a NY Civil Liberties Union benefit. From that point on I was telling people I wanted to do Little Shop with a trans actress as Audrey. I felt that made sense and how important I think it is that we do a production like the one we are doing here to normalize everything. We are all human beings just trying to tell stories.

Kevin Chamberlin (Dirty Blonde) plays Mr. Mushnik.

I think it’s very edgy and I hate to use the word “woke,” but it is aware. There are other productions. I think this is the first time it has been done using a trans actress in the role. I hope it is the beginning of a long trend.

Mike Donohue directs the show. He’s the director behind The Legend of Georgia McBride (seen in Los Angeles at the Geffen Playhouse).

I think something we’ve all been thinking about is this show started in this gritty downtown theatre. It’s not a big slick, fancy show. It was written to be dry and toothy. Thinking of that grit has been an important thing for us here.

Amber Riley (London’s Dreamgirls) sings the part of Audrey II (the plant).

After talking to Mike about his vision about what this was going to be, I just jumped at the chance to do it. After all, who doesn’t want to be an alien plant? He wanted to create this world on skid row that looked like this world and I thought that was so intriguing. And what a challenge to play a role sung by a male baritone and I’m a female soprano.

Matthew Wilkas plays Dr. Orin Scrivello. He’s known for his role in Gayby.

I think right now it is a really great time because it’s basically a show about capitalism and how money and greed destroy people and society. There’s a plant that says “you have to feed me human blood” in order to become successful and this guy does that. Today with Trump being President and all that’s going on in the world, we can see how capitalism and money is costing us so much morally.

Chamberlin:   It’s a camp classic based on the Roger Corman film. It has the whole theme of this plant brings out the worst in people. The capitalistic greed, to want to kill for fame and success. And it touches everyone in the show – literally and figuratively.

Salazar:  It’s equally parts silly, equal parts absurd, equal parts honest and heartbreaking. Menken & Ashman found such a beautiful way for this world to exist in a believable way.

Donohue:  It does actually have this profound vulnerability to it. It’s a story about people who are profoundly lonely and isolated because of their circumstances and they are longing for a connection and to feel seen and taken care of and have someone who champions them and roots for them. I find the show surprisingly emotional.

Salazar: What I really appreciate about this production is that this feel likes any street in any town I walk on. For me, being mixed race, it feels really important for young mixed race people, they see themselves represented on stage.

Riley: I think it says, as far as the casting, to look for talent outside of what you may think is the norm. And people are a lot more capable than we give them credit for. Talent comes in all sorts of packages.

Rodriguez: There’s not the challenge of me singing it, but there’s the mental challenge of what people are going to think. Because this is someone totally different and I sing differently. I’ve always had this range, but I haven’t had the ability to do this on a broad scale like this.

Wilkas: I hope it doesn’t feel weird. It makes complete sense to me. I was most excited about the casting, not because it is diverse, but because it felt so right. I think every person in this cast is perfectly suited for their role. I’m excited to see Mj in this – Ellen Greene [who originated the role of Audrey and also played the part in the film version] made it so iconic. Mj’s take is completely different and completely valid and I think will elevate the production and the part as well.

Chamberlin: It’s a testament to the show that it works on the high and the low level. It’s scrappy and it’s also sophisticated. They are saying something timeless.

Little Shop of Horrors has its official opening tonight and will run through October 20th at the Pasadena Playhouse

Main photo:  George Salazar in “Little Shop of Horrors” (Photo by Jenny Graham)/All photos courtesy of the Pasadena Playhouse

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Alan Menken’s music returns as do the lyrics of Tim Rice and the late Howard Ashman. Chad Beguelin contributes additional lyrics and wrote the book for the show. The original Broadway production was nominated for five Tony Awards.

In this touring production, Adam Jacobs plays Aladdin; Anthony Murphy is the Genie and Isabella McCalla is Jasmine. The magic carpet rides begin on Wednesday and run through the end of March.

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