The creature in question is Audrey II, the central antagonist of the musical and film Little Shop of Horrors. This unusual botanical specimen is the catalyst for the story, transforming the life of the timid floral assistant Seymour Krelborn. Discovered and nurtured by Seymour, the plant quickly becomes the main attraction at the struggling Skid Row flower shop. Its presence brings unexpected fame and fortune to Seymour, but this newfound success comes with a horrifying price.
The Identity of Audrey II
The sentient organism is officially named Audrey II by Seymour, who christens the plant after his coworker and secret love, Audrey. The species is described as an anthropomorphic cross between a Venus flytrap and an avocado. Visually, it appears as a large, green or purplish pod with a jagged mouth and internal teeth, resembling a grotesque carnivorous flower.
Audrey II possesses a distinct, commanding personality and the ability to communicate. The plant speaks and sings with a deep, soulful voice, often characterized as an R&B or Motown style. This vocalization allows it to manipulate Seymour into providing its increasingly demanding requirements. The plant’s size increases dramatically over the course of the story, transforming from a small potted cutting into a massive, stage-filling menace.
The Plant’s Unusual Diet
The defining characteristic of Audrey II is its specific, non-phototrophic nutritional requirement: human blood and flesh. Initially, Seymour discovers the plant only thrives when fed droplets of his own blood. This dependency quickly escalates as the plant grows, demanding larger quantities of sustenance with the catchphrase, “Feed Me!” This insatiable appetite drives the narrative, forcing Seymour to make morally compromising decisions to satisfy the creature.
The plant’s method of consumption is swift and final, with its gaping maw opening wide enough to swallow a human whole. Once a victim is inside, the body travels down what is theatrically represented as a digestive tract or slide. This feeding mechanism ensures the plant’s rapid growth, directly correlating its size and vigor to the number of lives it consumes. The need for fresh victims pushes Seymour further into a cycle of desperation and crime, trading human lives for the plant’s continued existence.
Fictional Origin and Rapid Growth
Seymour first acquires the small, sickly cutting of the plant in an old Chinese flower shop during a total eclipse of the sun. This celestial event marks the plant’s introduction into the world, suggesting an otherworldly or unnatural origin. When Seymour brings the plant to Mushnikâs Flower Shop, it is a small specimen that refuses to grow under normal care conditions. Its true nature is revealed only after Seymour accidentally draws blood and the plant reacts.
The consumption of human blood acts as a hyper-accelerant, causing the plant to undergo rapid, unnatural development. With each feeding, Audrey II visibly swells in size, quickly outgrowing its pots and requiring larger containers. The final stage of its growth culminates in a massive pod capable of filling a significant portion of the stage space. This exponential increase in size mirrors the spiraling descent of Seymour’s moral choices, as a small decision leads to monstrous consequences.
Symbolism and Allegory
Beyond its role as a monster, Audrey II functions as a powerful symbol representing themes of greed and corruption. The plant acts as a physical manifestation of a Faustian bargain, offering Seymour fame, wealth, and the love of Audrey in exchange for human lives. Each time Seymour feeds the plant, he sacrifices his moral standing for personal ambition and material gain.
The plant’s constant demand to be fed also serves as an allegory for unchecked consumerism and capitalist excess. Its exponential growth and need for consumption reflect a society that values success and material possessions above ethical behavior. Audrey II promises a shortcut to the American Dream, but ultimately reveals the destructive nature of ambition pursued without conscience.