- Somewhere That's Green Reprise. WAAAH.
Audrey: I'm feeling strangely happy now
- Depending on the actress and how it's done, that song the first time around also counts.note
- You don't have to imagine the original stage version of the first "Somewhere That's Green".
- Seriously, though, think about it: what's Audrey's greatest dream? What fantasy does she cling to, despite believing it's a daydream she thinks she'll never achieve? Not fame and fortune, not living in a mansion, not being married to a millionaire. No, she fantasizes about living in a nice house in a safe neighborhood, with some "modern" appliances and a pretty garden, with a husband that doesn't beat her and genuinely loves her. These very basic "luxuries" that Audrey absolutely deserves to have are completely out of her reach. (Well, not the guy, but she doesn't realize that Seymour loves her back at that point.) Hell, she doesn't even think she deserves those nice things! Can someone please just give this girl a hug? And maybe a domestic abuse hotline?
- What makes it really tragic is that she's literally getting what she wants.
Contended and serene
Oh, don't you see
I'll finally be
Somewhere that's green.
- When you think about it, Seymour has never been loved in his life. He was abandoned at the Skid Row Home for Boys and subsequently taken out by a guy who hated him, made him sleep under the counter, and kept him around to do the work. Then he gets a magic plant, and suddenly Mushnik wants to be his dad! Audrey loves him! The world loves him! Everything's perfect...and then he's forced to go on a bloody, awful, evil killing spree, in part because he's afraid that if he gets rid of the plant, Audrey won't love him anymore.
- On that note, Audrey too. Audrey got abandoned by her father when she was a child, ended up with an abusive jerk and is trapped in a dead-end job with no chance at escape.
- While it's a catchy song the whole way though Skid Row (Downtown) gives a good look into the characters' desire to get out of the really bad situations they're in (Audrey's abusive relationship, Seymour working for a man who not only hates him but works him to the bone, etc). Is it any wonder Seymour is attracted by Twoey's plan?
- Audrey's whole relationship with Orin is seriously hard to watch. He's spent years beating her and degrading her, and her self-esteem is in shambles, but she stays with him because "he's the only fella I've got", and because she's too scared to leave. Despite her friends and coworkers urging her to leave Orin and find someone that respects her, Audrey believes she doesn't deserve anyone better because of her past (it's heavily implied she used to be a stripper). So she stays with the creep because she thinks if she leaves him, she'll be alone, and she'd rather be abused than alone. Even when he dies, she feels guilty, because "secretly, [she] wished for it." For such a silly, over-the-top show, it definitely has a devastatingly true-to-life portrayal of an abusive relationship.
- Anyone who's seen Audrey's reprise of "Somewhere That's Green" as she dies in the director's cut knows that had it been left in the original theatrical version, she would have won an Oscar.
- The musical build up to the dramatic chord actually makes this troper feel a bit of sympathy for Seymour, even if the whole situation's his fault.
- It's even worse in the film than in the musical, for several reasons. Seymour had just proposed to Audrey, and they were about to elope together—she was in her wedding gown, for crying out loud! Plus, when Patrick Martin shows up afterwards, he finds Seymour standing at the top of a building, tears in his eyes, all ready to jump.
- In fact, after the first take, Frank Oz told Ellen Greene that her performance was too restrained, and to let it all go. The next take was the last one.
- The music for the entire scene of Audrey's death is just heartbreaking. First, you have the "Somewhere That's Green" reprise, which is painful for obvious reasons. Then that song ends on the melody of "Suddenly Seymour", and then moves into a rising instrumental "Skid Row", all of which are darkly ironic to their counterparts on the soundtrack.
- While Orin deserves it, his realization that Seymour is letting him die is somewhat sad. He even shows slight regret before dying, when Seymour subtly reveals why he's letting the nitrous oxide kill him.
Orin: What'd I ever do to you?Seymour: Nothing... It's what you did to her.Orin: "Her" who? *Beat* Oh... her. *dies*
- In the cut content from "The Meek Shall Inherit the Earth", Seymour shows the only real regret for killing Mushnik. When he sings, "Who knew that success would come with bloody, nasty strings?" he sees a painting of Mushnik with blood seeping down it.