- Somewhere That's Green Reprise.
I'm feeling strangely happy now
- 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 little 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.) She doesn't even think she deserves those nice things!
- What makes it really tragic is that she's literally getting what she wants.
Content and serene
Oh, don't you see?
Finally, I'll be
Somewhere that's green.
- 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".
- 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.
- Audrey was 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 through, 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?Downtown...
That's your home address, you live—
When your life's a mess, you live—
Where depression's just status quo...
Down on Skid Row!
- 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. As she puts it, he beats her up when he's "nice" and he'll be much worse if she leaves. 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. For such a silly, over-the-top show, it definitely has a devastatingly true-to-life portrayal of an abusive relationship.
- Twoey even uses Audrey as a means to motivate Seymour to kill someone. Seymour protests that no one deserves to die or be fed to a hungry plant. Audrey II replies, "Sure you do" just as Audrey runs in fetching her sweater, apologizing to her boyfriend for leaving it behind. Orin smacks her in full view of the plant and her coworker, not caring who sees. Seymour then sings in perfect sync with Twoey about how "the guy sure looks like plant food to me."
- In Act Two, Seymour notes that she's been upset since Orin "mysteriously disappeared." Audrey explains that she feels guilty, because "secretly, [she] wished for it." She then says that she sometimes wonders if it's her fault that Orin is gone and that it's terrible for her to wish that he was dead. Seymour in turn feels guilty that he caused Audrey pain rather than save her.
- The final song, "Don't Feed the Plants". While it has a catchy beat, the second half of the song is performed by Seymour, Audrey, Mushnik and Orin, trying desperately to convince the audience not to give in to anything the Audrey IIs try to persuade them with and feed the plants after Audrey II eats them and succeeds in beginning its world domination. And the worst part? It's heavily implied that their words are falling on deaf ears, as the urchins begin the song by revealing that "unsuspecting jerks" have become catalysts of the plant's growth in size and power. In retrospect, the Audrey II was a social experiment to determine the pure in a sea of the greedy and selfish, and all of humanity has failed.
- 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 can make you 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 afterward, 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 way Audrey II slowly, reverently opens its jaws as Seymour tenderly lays Audrey in its mouth...as if even the evil, carnivorous plant whose stated goal is the destruction of the human race respects the enormity of what Seymour's doing.
- 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", Seymour shows the only real regret for killing Mushnik. When he sings "I sign these contracts, that means I'm willing/To keep on doing bloody, awful, evil things", he sees a painting of Mushnik with blood seeping down it.