Single Tickets
Click here to purchase single tickets
The Lorax Teaser
Click here to watch the commercial
  • Info
  • Calendar
  • Cast
  • Creative
  • School Groups
  • Performance Description
  • Content Advisories
  • Video

Approximate run time: 2 hours, including a 15-minute intermission
Run time and other details are subject to change during rehearsal process.

Children’s Theatre Company and The Old Globe in partnership with The Old Vic Present
Dr. Seuss’s The Lorax
Based on the book The Lorax by Dr. Seuss
Adapted for the stage by David Greig
Music and lyrics by Charlie Fink
Directed by Max Webster
Choreography by Drew McOnie
Music Direction by Victor Zupanc
Puppet Direction by Finn Caldwell for Gyre & Gimble
Scenic and Costume Design by Rob Howell
A U.S. Premiere by Children’s Theatre Company
Best enjoyed by everyone

The silky soft tufts of the Truffula Trees are the perfect stuffs to knit the perfect Thneeds. But the first chop, chop of the perilous ax, begins the powerful tale of Dr. Seuss's The Lorax. When the last tree of the forest falls, was it worth losing paradise for nothing at all? The most beloved environmental tale of all time, The Lorax will have you singing in Seussian rhyme!

About The Old Globe
The Tony Award-winning Old Globe is one of the country’s leading professional regional theatres and has stood as San Diego’s flagship arts institution for over 80 years. Under the leadership of Erna Finci Viterbi Artistic Director Barry Edelstein, The Old Globe produces a year-round season of 15 productions of classic, contemporary, and new works on its three Balboa Park stages: the Donald and Darlene Shiley Stage in the 600-seat Old Globe Theatre and the 250-seat Sheryl and Harvey White Theatre, both part of The Old Globe’s Conrad Prebys Theatre Center, and the 605-seat outdoor Lowell Davies Festival Theatre, home of its internationally renowned Shakespeare Festival. More than 250,000 people attend Globe productions annually and participate in the theatre’s artistic and arts engagement programs. Numerous world premieres such as the 2014 Tony Award winner for Best Musical, A Gentleman’s Guide to Love and Murder, Bright Star, Allegiance, The Full Monty, Dirty Rotten Scoundrels, and the annual holiday musical Dr. Seuss’s How the Grinch Stole Christmas! have been developed at The Old Globe and have gone on to enjoy highly successful runs on Broadway and at regional theatres across the country.

About The Old Vic
The Old Vic, under Artistic Director Matthew Warchus, is a place that encourages a new love of theatre, as well as offering a refreshing experience to those who keep coming back for more. It is a theatre steeped in tradition yet still innovating and making history today through a huge variety of output on and off stage which grabs the imagination of the broadest range of people. The Old Vic works with over 10,000 people of all ages and backgrounds each year to unlock creative intelligence through school projects, employability schemes and community engagement.

The Lorax
Ansa Akyea
Ansa Akyea | Once-ler Dad, Mayor, Inspector, Understudy: The Once-ler
Ansa is a professional actor, teaching artist and director who has worked throughout the country. Along with his stage work, Ansa has numerous television (In an Instant- ABC), film (House of Tomorrow; Memorial Day), commercial (MNsure, Target, Buffalo Wild Wings), and voiceover credits in his body of work. Ansa Akyea's stage credits include Christmas Carol (Guthrie Theater); Jackie & Me (Children's Theatre Company); How to Use a Knife (Mixed Blood Theater); Othello (Ten Thousand Things); Jackie Wilson Story (Black Ensemble) and many others. A recipient of the Playwright Center's McKnight Award for acting, the Many Voices Mentorship award and City Pages Best Actor award. Ansa is a proud M.F.A. graduate of the University of Iowa's Acting Program (2000). Merci à Dieu, Seena, Senam, Cashton, and Modei Akyea for their unflinching support and love. Merci!
Christopher Becknell
Christopher Becknell | Musician, Storyteller
Christopher is a Twin Cities musician who freelances in many musical styles. An accomplished classical and fingerstyle guitarist, he also performs on fiddle in a wide range of styles from classical, Celtic, bluegrass and old-time to rock and Hot Club Jazz Violin. He serves on the music faculty of Minneapolis Community and Technical College and runs his own Suzuki Method music program for children and their parents at his private studio in Minneapolis. In 2015, Christopher released an album of fingerstyle gospel and folk song arrangements for solo guitar called Just Beyond the River; it has received playtime on The Current, Minnesota Public Radio and KBEM’s Bluegrass Saturday Morning and is available on CDBaby or iTunes.
Stephanie Bertumen
Stephanie Bertumen | Once-ler Family, McGee, Inspector, Understudy: Swan, Child
Stephanie has enjoyed roles in The 25th Annual Putnam County Spelling Bee (Theatre L’Homme Dieu produced by Bloomington Civic Theater); Disenchanted! (Casting Spells Productions); A Little Night Music; Twelfth Night; Purple Cloud; tot: The Untold, Yet Spectacular Story…; Charles Francis Chan Jr.’s Exotic Oriental Murder Mystery (Mu Performing Arts); The Debutante’s Ball (History Theatre in partnership with Mu Performing Arts); Right, Wrong, or Bomb! A Dating Musical (Backyard to Broadway Productions); Complicated Fun (History Theatre); The Last Firefly; The Abominables (Children’s Theatre Company); Flower Drum Song (Mu Performing Arts and Park Square Theatre); Jesus Christ Superstar; and Annie (Ordway Center for the Performing Arts). She dedicates her performance to her beautiful family.
Brian Bose
Brian Bose | Once-ler Family, Bear
Brian has performed in Mr. Chickee’s Funny Money (Apollo Theater); DJ Latinidad’s Latino Dance Party; Safe at Home; and The Lost Tribe of PA-US Cargill (Mixed Blood Theatre Company); In The Heights and Dirty Little Secrets (San Diego Repertory Theatre); The Bacchae (London Oval House Theater); Romulus Kilgore’s Mobile Happiness Bazaar (La Jolla Playhouse W.O.W. Festival); A Civil War Christmas (Diversionary Theatre) and It’s All Bueno (Cornerstone Theater Company). He trained at UC San Diego, British American Dramatic Academy, Steppenwolf West, and CSULA Academy of the Dramatic Arts. Brian is considered one of the “Faces to Watch in Arts” by the San Diego Union Tribune and he is a proud member of AEA.
Ryan Colbert
Ryan Colbert | Small Ed, Storyteller
Ryan is ecstatic to be making his debut with The Old Globe through this partnership with Children’s Theatre Company! He is thrilled to be back with Children’s Theatre Company where he recently performed in The Abominables and Dr. Seuss’s The Sneetches the Musical. Born in Minneapolis, Minnesota, Ryan grew up in a vibrant theater and arts community. Since graduating from the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program, he has had the pleasure of working with many great Twin Cities theater companies: Guthrie Theater, Penumbra Theatre, Mixed Blood Theatre, Pillsbury House Theatre, Park Square Theatre, Red Bird Theatre, New Epic Theater, Theater Latté Da, and Red Eye Theatre. On top of his theatrical career, he also works locally on-camera and in voice-overs. In 2016, Ryan won an Ivey Award for Outstanding Ensemble.
Lynnea Doublette
Lynnea Doublette | McGann, Storyteller, Understudy: Mommy Once-ler, Samelore Bews, Inspector, Granny Once-ler, Von Goo
Lynnea is excited to join the cast of CTC and The Old Globe’s Dr. Seuss’s The Lorax. Lynnea has also appeared in productions with History Theatre, Theater Latté Da, Guthrie Theater, Stages Theatre, Illusion Theater and Theatre in the Round. She has been seen in numerous commercials, industrial films and print ads. Her film credits include Turnipseed; Autistic License; and His Neighbor Phil. She received a B.A. in Psychology from Winona State University and a M.S. in Healthcare Communications from Saint Thomas University. “Thank you, Lord for your many blessings and thank you Mom, Dad, Ivory and Danielle!”
Johannah Easley
Johannah "Joh" Easley | Child, Once-ler Family, Understudy: McGee, McGann, Smog
Johannah is excited to take this journey with the cast and crew of Dr. Seuss’s The Lorax. At Children’s Theatre Company, Joh has enjoyed roles such as Akeelah in Akeelah and the Bee, as well as Patty Farrell in Diary of a Wimpy Kid the Musical. Other credits include Hairspray (History Theatre); Lord of The Flies (Illusion Theatre); and For Colored Girls (Mixed Blood Theatre Company). Thank you to my parents, family and Cutie for the prayers and support. Speaking for the trees all 2018!
Steven Epp
Steven Epp | The Once-ler
Steven is an actor, writer and director based in Minneapolis. Steven was co-Artistic Director at Theatre de la Jeune Lune, 1983–2008, winner of the 2005 Tony Award for Best Regional Theatre. Steven is currently the co-Artistic Director of The Moving Company based in Minneapolis. Acting credits include lead roles in Tartuffe; Crusoe; Hamlet; Figaro; The Miser; Man of La Mancha; The Servant of Two Masters; Accidental Death of an Anarchist and Fiddler on the Roof. Regional credits include productions at Guthrie Theater, La Jolla Playhouse, Berkeley Repertory Theatre, Trinity Repertory Theatre, The Spoleto Festival, American Repertory Theatre, The Alley Theatre, Intiman, CenterStage, The Shakespeare Theatre, PlayMakers, Seattle Repertory Theater, South Coast Repertory Theatre, Yale Repertory Theatre, The New Victory Theatre and Theatre for a New Audience. Steven has co-authored and adapted numerous plays including Children of Paradise, winner of the 1993 Outer-Critics Circle award for best new play, Servant of Two Masters and Ruzante for Theatre for a New Audience and Refugia for Guthrie Theater. Steven holds a degree in Theatre and History from Gustavus Adolphus College.
H. Adam Harris
H. Adam Harris | The Lorax
H. Adam is a Minneapolis based actor, teaching artist and cultural equity consultant. He works at the intersection of theatre, education, social justice, and community engagement. Recent theatrical credits include the world premiere of This Bitter Earth at New Conservatory Theatre Center. He’s a frequent performer with the Children’s Theatre Company: The Snowy Day and other stories by Ezra Jack Keats; The Jungle Book; and Dr. Seuss’s How the Grinch Stole Christmas. He has worked with Guthrie Theater, Seattle Children’s Theater, Park Square Theatre, Pillsbury House Theatre, and Minnesota Orchestra. He is a proud Penumbra Theatre Company Member, credits with Penumbra include The Owl Answers; The Dutchman; The Ballad of Emmett Till; and The Amen Corner. Along with serving on the Ten Thousand Things board, he is also a member of Artist Core, credits with the company include The Unsinkable Molly Brown; Dirt Sticks; The Seven; and Park & Lake. H. Adam is the Education Coordinator at the Playwrights’ Center; Lead Teaching Artist/Facilitator at Penumbra Theatre Company; a resident teaching artist with Guthrie Theater and Children’s Theatre Company, and faculty at the St. Paul Conservatory for Performing Artists. He is a graduate of the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program.
Rajane Katurah
Rajané Katurah | Granny Once-ler, Von Goo
Rajané is a 2017-2018 Performing Apprentice at Children's Theatre Company. She is an alumna of Spelman College, where she graduated with a B.A. in Drama and a minor in Spanish. Rajané has also trained at the British American Drama Academy (BADA) in London, England. Selective theatre credits include: Born For This: The Bebe Winans Story (Alliance Theater); Gee's Bend (Spelman College); The Revenger's Tragedy (BADA); Big River (The Unquowa Rep); Dr. Seuss’s How the Grinch Stole Christmas (Children's Theatre Company); and The Wiz (Children's Theatre Company/Penumbra Theatre). Rajané is eternally grateful to God, her super supportive family and her guardian angel, Pop-pop! #DREAMBIG Social Media | @RajaneKaturah
Meghan Kreidler
Meghan Kreidler | The Lorax: Puppeteer
Meghan has been seen on Minneapolis stages at Children’s Theatre Company, Theater Mu, Mixed Blood Theatre, Ten Thousand Things, Guthrie Theater, History Theatre, Park Square Theatre, Theater Latté Da, Walking Shadow Theatre Company and Workhaus Collective. Recipient of the 2017 Ivey Awards for Emerging Artist and Ensemble in Vietgone (Mixed Blood Theatre). Also the recipient of the 2017 City Pages Artist of the Year. Graduate of the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program. When she isn’t performing in plays, Meghan fronts rock and roll group Kiss the Tiger. |
Ryan Lear
Ryan Lear | Musician, Storyteller
Ryan is a Minneapolis based artist whose stage work focuses on original and imaginative works. He is a company member of the critically acclaimed theater group Four Humors and has appeared in many of their past works including as the title role in their original adaptation of Don Quixote at Guthrie Theater’s Dowling Studio. Other credits include Children’s Theatre Company (Dr. Seuss’s The Cat in the Hat), Chanhassen Dinner Theatres (Grease), Jon Ferguson Theater (Legend of Sleepy Hollow) and Yellow Tree Theater (One Man, Two Guvnors). Ryan is also a founding member and board chair of the yearly Twin Cities Horror Festival.
Ryan Dean Maltz
Ryan Dean Maltz | Storyteller, Understudy: The Lorax: Voice and Puppeteer, Small Ed, Once-ler Dad, Mayor, Inspector
Ryan is delighted to be making his Children’s Theatre Company and The Old Globe debut with Dr. Seuss’s The Lorax! Originally from Colorado, Ryan is a recent graduate of the University of Minnesota/Guthrie Theater B.F.A. Actor Training Program. Since joining the Twin Cities, he has performed in shows such as A Christmas Carol (Guthrie Theater); Under the Gaslight (Minnesota Centennial Showboat); and The Adventures of Katie Tomatie (Open Eye Figure Theatre).
Emily Michaels King
Emily Michaels King | Dance Captain, Swan, Once-ler Family
Emily is a Minnesota based performer and creator. Her stage credits include The Moving Company and Actor’s Theatre of Louisville (Love’s Labour’s Lost), Transatlantic Love Affair (Ballad of the Pale Fisherman; Promise Land), Jon Ferguson (Super Monkey), Black Label Movement (The Woyzeck Project), Minnesota Opera, Tectonic Theater Project, Chanhassen Dinner Theatres, and Live Action Set (many pieces plus the Ivey Award winning The 7 Shot Symphony). Some of her creation highlights include: Animus and Lewis/Clark (with Debra Berger), 7th House Theater Collective’s Jonah and the Whale (co-directed with Tyler Michaels) and the Walker Art Center’s Choreographer’s Evening (2009, 2012).
Rick Miller
Rick Miller | The Lorax: Puppeteer
Rick is excited to join Children’s Theatre Company for the first time! An actor and puppeteer in the Twin Cities, Rick has performed in Constance in the Darkness; The Red Shoes; Toy Theatre After Dark; The Sorcerer’s Apprentice; Driveway Tour (Open Eye Figure Theatre); War Within/All’s Fair; Little Dickens (The Moving Company); and The Seagull (Theatre Novi Most.) Rick graduated from the University of Minnesota B.A. program in 2015.
Autumn Ness
Autumn Ness | Mommy Once-ler, Samelore Bews
Autumn is celebrating her 18th season as a member of the CTC Acting Company! Some favorite roles include: Stepmother in Cinderella; Turtle in A Year With Frog and Toad; Bagheera in The Jungle Book; Mom in Diary of a Wimpy Kid the Musical; Fiona in Shrek The Musical; The Biggest Little House in the Forest; Mrs. Cobb in Lizzie Bright and the Buckminster Boy; Lily St. Regis in Annie; Nurse in Romeo and Juliet; White Witch in The Lion, the Witch, and the Wardrobe; Mrs. Piggle Wiggle in The Magic Mrs. Piggle Wiggle. Her super-hero team includes her husband Reed, her two sons, and one pug. Autumn is a recipient of the 2018 Fox Foundation Resident Actor Fellowship.
David Greig | Playwright
David is an award-winning playwright and Artistic Director of the Royal Lyceum Theatre Company, Edinburgh, since 2016. His plays have been staged in the U.K. and around the world. Recent work includes: The Suppliant Women (Lyceum, Edinburgh/U.K. tour/Young Vic, London); Cover My Tracks (The Old Vic/Latitude Festival/U.K. tour); Charlie and the Chocolate Factory (West End); Lanark (Citizens Edinburgh); The Events (Traverse/Young Vic); Midsummer (Traverse/Soho/Tricycle); Dunsinane (Royal Shakespeare Company); The Strange Undoing of Prudencia Hart (National Theatre of Scotland); Monster in the Hall; Yellow Moon (TAG Glasgow).

Charlie Fink | Composer
Charlie was frontman and songwriter for Noah and the Whale, 2007–2015. The band released four albums, which collectively sold over a million copies, and performed worldwide. He produced Laura Marling’s Mercury Prize-nominated album Alas I Cannot Swim, and wrote/produced music for Charlotte Gainsbourg, Foxes and Eliot Sumner, among others. He has also directed music videos, two extended short films and wrote the music for and performed in Cover My Tracks (The Old Vic/Latitude Festival/U.K. tour).

Max Webster | Director
Max is an Associate Director at The Old Vic. Credits as director: Fanny & Alexander; Dr. Seuss’s The Lorax; Cover My Tracks (The Old Vic); The Jungle Book (Fiery Angel); The Winter’s Tale (Lyceum, Edinburgh); The Twits (Leicester Curve); King Lear (Northampton); Mary Stuart (PARCO, Tokyo); Orlando; To Kill a Mockingbird; My Young and Foolish Heart (Royal Exchange, Manchester); James and The Giant Peach; My Generation (West Yorkshire Playhouse); Twelfth Night (Regent’s Park Theatre); Much Ado About Nothing (Shakespeare’s Globe).

Drew McOnie | Choreographer
Drew is Artistic Director of The McOnie Company and an Associate Artist at The Old Vic Theatre. For The McOnie Company: Jekyll & Hyde – BroadwayWorld Award for Outstanding Achievement in Dance (The Old Vic); Drunk! (Leicester Curve/Bridewell). Director/Choreographer credits: Strictly Ballroom (Piccadilly Theatre); King Kong (Broadway Theatre). Also: On the Town (Regent’s Park Open Air Theatre) and The Wild Party (The Other Palace). Choreographer credits: Jesus Christ Superstar – Olivier nomination for Best Theatre Choreography (Regent’s Park Open Air Theatre); Bugsy Malone (Lyric Hammersmith); In the Heights – Olivier Award for Best Theatre Choreography (Southwark Playhouse/King’s Cross Theatre); Hairspray –BroadwayWorld Award for Best Choreography (U.K. tour); Oklahoma! (National tour).

Victor Zupanc (Music Director, Conductor)
Victor is credited with approximately 300 productions as Composer, Musical Director and Sound Designer throughout the country and in China, Japan, South America, Great Britain, Australia, New Zealand and Canada, winning many awards and honors. He received a 2016 Ivey Award for his work in CTC’s Pinocchio. Victor often composes for orchestras and choirs and his music is heard on NPR, as well as in several films. This is Victor’s 27th season as Music Director at CTC. Favorite CTC composing credits include: Cinderella; The Monkey King; Korczak’s Children; Romeo and Juliet; Balloonacy; The Jungle Book; Huck Finn; Pinocchio, and many others.

Rob Howell | Scenic & Costume Designer
Theatre: Groundhog Day; The Caretaker; The Master Builder; Future Conditional; A Flea in Her Ear; Inherit the Wind; Speed-the-Plow; Complicit (The Old Vic); The Norman Conquests (The Old Vic/Broadway). Rob has also worked at the National Theatre, Royal Shakespeare Copmany, Royal Court, Almeida, Donmar, Young Vic, Bristol Old Vic, Chichester Festival Theatre, West Yorkshire Playhouse, Manchester Royal Exchange, Royal Opera House, Metropolitan Opera New York and on Broadway. He’s won three Olivier Awards for Set Design, including for Roald Dahl’s Matilda the Musical for which he also won Drama Desk, Outer Critics Circle and Tony awards. Rob is an Associate Artist at The Old Vic.

Finn Caldwell | Puppetry Director & Co-Designer
Finn is co-Artistic Director of Gyre & Gimble, a theatre company specializing in puppetry. As Co-Director/Puppet Designer: The Four Seasons (Shakespeare’s Globe); The Hartlepool Monkey (Fuel Theatre/Gyre & Gimble tour); The Elephantom (National Theatre & West End); David Walliams’ First Hippo on the Moon (Les Petits tour). Puppet Co-Designer/Director: The Grinning Man (Bristol Theatre and West End); Running Wild (Chichester, Regent’s Park and tour). Director of Puppetry/Movement: Angels in America (National Theatre and Broadway); The Light Princess (National Theatre); War Horse (Associate Puppetry Director: National Theatre, West End and international tour); Groundhog Day (Additional Movement – The Old Vic & Broadway); Dr. Seuss’s The Lorax (The Old Vic); The Bear (Puppetry Director - Pins and Needles Productions); The Tempest (Birmingham Ballet); Alice’s Adventures Underground (Les Enfants Terrible); Ariodante (Festival Aix); Shrek The Musical (West End).

Nick Barnes | Puppetry Co-Designer
In 1996, Nick co-founded Blind Summit Theatre, and was the Co-Artistic Director for many years. Nick performed, designed and directed for the company on productions including The Table; Low Life; Martin’s Wedding; 1984; and Mr. China’s Son. The company also created puppetry for Madame Butterfly (English National Opera/Metropolitan Opera); Shunkin; A Dog’s Heart; The Master and Margarita (Complicite); Faeries (Royal Opera House); and His Dark Materials (Birmingham Repertory Theatre). Nick also directed the puppetry for the 2012 London Olympic Games opening ceremony. Nick left Blind Summit in 2013 and remains an associate artist. Other credits as Puppetry Designer/Director include The Jungle Book (Fiery Angel/Northampton U.K. tour); The Little Beasts (Perfect Pitch/The Other Palace); and Mr. Popper’s Penguins (West End and Broadway). Work as Co-Puppetry Designer include Dr. Seuss’s The Lorax (The Old Vic/Mirvish); Angels in America (National Theatre/Broadway); and Ariodante (Aix-en-Provence Festival). Co-Director/Co-Designer of The First Hippo on the Moon (U.K. tour).

Jon Clark | Lighting Designer
Theatre: The Commitments; The Maids; Doctor Faustus; Apologia; The Ruling Class; Made in Dagenham; I Can’t Sing!; Three Days of Rain – Knight of Illumination Award (West End); Amadeus; The Beaux Stratagem; Much Ado About Nothing; Othello; Collaborators; Dr. Seuss’s The Cat in the Hat (National Theatre); Hamlet; The Tempest; King Lear; Twelfth Night; The Comedy of Errors (Royal Shaekspeare Company); Cat on a Hot Tin Roof; A Streetcar Named Desire; Once in a Lifetime; Galileo (Young Vic); Richard III; King Charles III; American Psycho; King Lear (Almeida); Trelawney of the Wells; Limehouse (Donmar); Fatherland (Royal Exchange Manchester).

Tom Gibbons | Sound Designer
Theatre: Fanny & Alexander (The Old Vic); Life of Galileo; Happy Days; Season in the Congo; Disco Pigs (Young Vic); 1984 (West End/Broadway); A View from the Bridge (Young Vic/West End/Broadway); Mr. Burns, a post-electric play (Almeida Theatre); Hamlet; Oresteia (Almeida Theatre/West End); Hedda Gabler (National Theatre/U.K. tour); People, Places and Things – Olivier Award for Best Sound Design (National Theatre/West End/St. Ann’s Warehouse); The Red Barn; Sunset at the Villa Thalia (National Theatre); As You Like It; The White Devil (Royal Shakespeare Company); Julius Caesar; Henry IV (Donmar Warehouse/St. Ann’s Warehouse); Love Love Love (Royal Court); Lionboy (Complicite); Anna Karenina (Manchester Royal Exchange); The Crucible (Broadway); Les Misérables (Wermland Opera, Sweden).

Phil Bateman (Musical Supervisor & Arranger)
Theatre, as Music Supervisor/Vocal Arranger: One Love: The Bob Marley Musical (Birmingham Rep). Music Director/Orchestrator: Bugsy Malone (Lyric Hammersmith). Music Supervisor/Vocal Arranger: Made in Dagenham; Imagine This (West End). Music Director/Music Supervisor/Vocal Arranger: I Can’t Sing (West End). Original Music Director: Billy Elliot the Musical (West End). Music Supervisor/Vocal Arranger/Additional Music: Our House (West End/U.K. tour). Music Director: Hello, Dolly!; Gigi (Regent’s Park); Three Sisters; Human Comedy; My Dad’s a Birdman; After Miss Julie; Vernon God Little (Young Vic); She Loves Me (Chichester Minerva); Treasure Island (Kingston Rose); Piaf (Sheffield Crucible); Cinderella (Bristol Old Vic). Film, as Singing Coach/Vocal Arranger: Kinky Boots. Singing Coach: Cemetery Junction. TV, Composer: Big Performance/Extreme School (CBBC).

James Vásquez (Associate Director)
James recently directed the world premiere of American Mariachi at The Old Globe and Denver Center for the Performing Arts. At the Old Globe, he has directed Dr. Seuss’s How The Grinch Stole Christmas!; the west coast premiere of Rich Girl; and The Rocky Horror Show, and provided musical staging for A Midsummer Night’s Dream and Comedy of Errors. He won the 2017 San Diego Critic’s Circle Award for his direction of In The Heights with Moonlight Stage Productions. James loves dogs and is a graduate of the Juilliard School of Drama.

Micki Weiner (Associate Choreographer)
Micki is thrilled to be setting Drew McOnie’s original choreography for the U.S. premiere of Dr. Seuss’s The Lorax. She’s worked as an associate to choreographer Chase Brock on numerous projects including HAIR to Hamilton (Public Theater); Darling Grenadine (Goodspeed Opera); The Tempest (Public Theater); and Pippin (Kansas City Repertory Theatre). Micki’s performance credits include Phantom of the Opera (25th Anniversary tour); The Chase Brock Experience; Zorro (international tour); How To Succeed In Business Without Really Trying (Goodspeed Opera); Dance On Broadway (Nintendo Wii/PS3); Chase Brock’s The Nutcracker (Flat Rock Playhouse); and New York Theatre Ballet.

Ben Davies (Associate Scenic Designer)
Ben has worked as Associate Designer in the West End on Beautiful, The Carole King Musical; Charlie and the Chocolate Factory; The Ferryman; Dr Seuss’s The Lorax; and A Christmas Carol. As Assistant Designer: Gypsy; Shrek The Musical; Monty Python’s Spamalot; The Audience; Groundhog Day; Sweeney Todd; Oliver!; God of Carnage; and The Wizard of Oz. Other work includes An American in Paris (Théâtre du Châtelet, Paris); Charlie and the Chocolate Factory; Bombay Dreams; and A Raisin in the Sun (Broadway).

Irene Bohan | Associate Costume Designer
Theatre: The Caretaker; Future Conditional; Inherit the Wind; The Norman Conquests (The Old Vic); Follies; Common; The Threepenny Opera; A Midsummer Night’s Dream; The Wind in the Willows (National Theatre); The Graduate; Skylight; The Audience; The Phantom of the Opera; The Wizard of Oz; Sunset Boulevard; Priscilla, Queen of the Desert; Bombay Dreams; The Lord of the Rings; Our House (West End). Opera and Dance: Carmen; Die Fledermaus; Werther; The Marriage of Figaro; Manon (Metropolitan Opera New York); Early Adventures; Edward Scissorhands; Dorian Gray (Matthew Bourne). Film: The Madness of King George.

Tim Deiling (Associate Lighting Designer)
Design credits: Our House (U.K. tour); Dedication (Nuffield Theatre); Miss Atomic Bomb (St. James); American Idiot (West End); Crazy For You; Guys and Dolls; On The 20th Century (Guildhall); Dick Whittington; Cinderella; Aladdin (Lyric Hammersmith); Vanities; Bash (Trafalgar Studios); The Mikado (U.K. tour); H.M.S. Pinafore (Hackney Empire/U.K. tour); Incognito (The Bush). Associate credits: The Exterminating Angel (Opera House, Copenhagen); Dr. Seuss’s The Lorax (Mirvish, Toronto); Pink Sari Revolution (Leicester Curve Theatre); Scottsboro Boys; White Christmas (West End); Chicago The Musical (worldwide tour); 9 to 5 The Musical (U.K. tour).

Sten Severson (Associate Sound Designer)
Sten has designed sound on Broadway, London’s West End, Off-Broadway and in numerous regional theatres. He is a partner in Acme Sound Partners who have collectively garnered five Tony® nominations and four Drama Desk awards. Selected credits: The Abominables; Dr. Seuss’s The Sneetches the Musical; Diary of a Wimpy Kid the Musical; Peter Pan the Musical (CTC); HAIR; The Merchant of Venice (Broadway); Audelco Award winning The Total Bent (Public Theater); Hamlet; Othello; Comedy of Errors (The Old Globe); Into the Woods; and King Lear (Delacorte Theater). He has taught at N.Y.U.’s Tisch School for the Arts and the Yale School of Drama.

Natalie Novacek (Assistant Director)
Natalie is thrilled to be back at Children’s Theatre Company after assistant directing The Iron Ring and Babe: The Sheep-Pig, as well as directing Spring Awakening for CTC’s Theatre Arts Training. She was a 2005 KC/ACTF National Selection Team Directing Fellow in Washington D.C. and a 2016-2017 Directing Fellow at Asolo Rep in Sarasota, FL. She is an alum of the Lincoln Center Directors Lab, the SDCF Observership Program and the Drama League Rough Draft Residency. Natalie received her M.F.A. in Directing from the University of Texas at Austin, and her B.A. in Theatre Arts from Minnesota State University, Moorhead.

Gina Scherr | Assistant Lighting Designer
NYC Lighting Designs: The Public Theatre, Roundabout Underground, City Center, Women’s Project, The Kitchen, P.S.122, La MaMa, Clubbed Thumb, Company XIV and The New School. Regional Lighting Designs: Williamstown Theatre Festival, Actors Theatre of Louisville, Old Globe, Milwaukee Rep, Asolo Rep, Cleveland Play House, Two River Theatre, Bucks County Playhouse, Weston Playhouse, Yale Repertory Theatre and Yale Baroque Opera Project. Frequent associate on numerous Broadway productions and National Tours. Member of United Scenic Artists Local 829. MFA: Yale School of Drama.

Katie Deutsch | Assistant Lighting Designer
Katie is excited to return to CTC once again as part of the creative team. She was part of the creative team for The Abominables at CTC last fall, and was the Lighting Design Intern for Theatre Arts Training productions last summer. She has recently designed at Open Eye Figure Theatre for Big Old Rock and at The Southern Theater for Almighty Voice and His Wife. She has worked with many companies around the Twin Cities including Pillsbury House + Theatre, Penumbra Theatre Company, Theater Latté Da, Walker Art Center and History Theatre.

Katharine Horowitz (Assistant Sound Designer)
Katharine most recently assisted sound for CTC and Penumbra Theatre’s The Wiz. She has designed critically-acclaimed and award-winning shows for companies such as: Guthrie Theater, History Theatre, Jungle Theater, Mixed Blood Theatre, Pillsbury House Theatre, Mu Performing Arts, Park Square Theatre, Walking Shadow Theatre Company, Gremlin Theatre, Great River Shakespeare Festival, Second City Theatricals and many others. A graduate of the University of Iowa, Katharine is a 2017–2018 McKnight Theatre Artist Fellow at the Playwrights’ Center.

Stacy McIntosh | Stage Manager
Stacy is in her 20th season at CTC. Some of her favorite credits include: The Abominables; Diary of a Wimpy Kid the Musical; The Jungle Book; The Biggest Little House in the Forest; A Wrinkle in Time; A Christmas Story; Five Fingers of Funk!; Bud, Not Buddy; Lizzie Bright and the Buckminster Boy; Lilly’s Purple Plastic Purse (1999); Dr. Seuss’s How the Grinch Stole Christmas; and A Year with Frog and Toad (CTC and Broadway). Stacy has also worked in San Francisco and New York. She is a proud member of Actors’ Equity Association. She would like to thank Dean and her biggest accomplishments Henry and Emmet, for their love, patience and great ideas.

Chris Schweiger | Assistant Stage Manager
Chris is delighted to be part of Dr. Seuss’s The Lorax in her 16th season at CTC. Chris has also worked locally at Guthrie Theater, Mixed Blood Theatre Company, Theater Latté Da, Ragamala Dance and Illusion Theater. In addition, she has worked at Arena Stage in Washington, D.C., Seattle Children’s Theatre, The New Victory Theater in New York City, Alpine Theatre Project in Whitefish, Montana, Utah Shakespeare Festival in Cedar City, Utah, and Perseverance Theatre in Alaska. She received her B.S. in Theatre from Northwestern University’s School of Speech and was a Peace Corps Volunteer for three years in Mongolia.

Nate Stanger | Assistant Stage Manager
Nate is so thrilled to work on this production, having developed a love for puppetry while in college. His previous credits at CTC include Dr. Seuss’s How the Grinch Stole Christmas; The Abominables; Dr. Seuss’s The Sneetches The Musical; Diary of a Wimpy Kid the Musical; The Jungle Book; and The Snowy Day and other stories by Ezra Jack Keats. Since graduating from the University of Minnesota, he has been fortunate enough to work with such companies as Guthrie Theater, Ordway Center for the Performing Arts, Park Square Theatre, and Walking Shadow Theatre Company.

Kaeli Melin | Stage Management Intern
Kaeli is very excited to take part in her first CTC production with Dr. Seuss’s The Lorax. She recently was the Assistant Stage Manager for the regional premiere of Mamma Mia! at The Duluth Playhouse’s recently renovated NorShor Theatre. She graduated with an emphasis in Stage Management from the University of Minnesota-Duluth, in May 2017.

Welcome, School Groups!

Children’s Theatre Company offers Weekday Student Matinee performances for your classroom, homeschool, or community educational group. Attending a CTC performance ignites students’ creativity, while supporting your curriculum and learning goals. Thanks to grants and our generous donors, student matinee tickets are available at a significantly lower price than our public performances and are further discounted for schools with a free and reduced lunch rate of 30% or higher. Information about themes, length, curriculum connections and state standards along with a full synopsis for each show is available on our student matinee webpage.

See More

Performance Description

Dr. Seuss’s The Lorax is a musical performed by a large cast with a live orchestra. Set, costumes, and props are elaborate. This production was created in collaboration with the Dr. Seuss Estate and The Old Vic in London, England.

This production takes place on the United Health Group Stage and seats up to 745 people.

Approximate run time: 2 hours including intermission
Run time and other details are subject to change during rehearsal process.

Plot Synopsis

written by Elissa Adams, Director of New Play Development
Edited by Kristina Miller, Senior Audience Services Manager
Be warned: This is a complete synopsis of the play, so it is full of spoilers.

A crowd enters the stage and tells the audience about The Once Happy Once-ler, a reclusive man who lives on a dark street in town. In front of his house is a crumbling statue, at the base of which is written the word “Unless.” The crowd pleads with The Once-ler to explain the mystery behind the word. He begins to tell them his story...

When The Once-ler was young, he lived with his family, who owned a moof-muffering mill. They dug moof out of the ground and sold it. It was steady work but never made much money. The young Once-ler never fit in with his family or his moof-muffering neighbors. He was always dreaming up fantastic inventions and wondering if there was something more to life that mining moof. When the day comes that his family is finally very tired of his questions and general dreaminess, they send him off into the world to make his own way. The Once-ler strikes out on his own, full of optimism, taking with him only a set of knitting needles given to him by his granny. After traveling for a long while, The Once-ler sees a beautiful bird fly overhead and decides to follow it. The Swomee Swan leads him into a beautiful valley populated by extraordinary colorful trees. The Once-ler is enchanted by the beauty of the trees, and struck by the softness and lightness of their tufts; he begins to knit a tuft that has blown off the tree (using his granny's knitting needles) into a fantastic fabric/shape he calls a thneed. Wanting to reach the tufts at the very top of one of the trees, The Once-ler chops the tree down. Instantly, there appears a strange orange creature—The Lorax. The Lorax is the protector of the beautiful valley and, in particular, of the trees, which The Once-ler learns are called Truffula Trees. He demands that The Once-ler stop chopping the Truffula trees down. The Once-ler explains to The Lorax that his future depends on being able to make and sell the thneeds he makes from the Truffula tufts. The Lorax gives The Once-ler a tour of the beautiful valley, showing him that it is a perfectly sustained ecosystem of plants and animals and that The Once-ler, should he choose to stay in the valley, will have everything he needs and therefore no reason to chop down Truffula trees and make thneeds. The Once-ler is won over. He decides to stay in the valley and soon he and The Lorax are great friends.

One day, when The Lorax has to leave the valley to go care for other Truffula trees, The Once-ler promises to stay and protect the Truffula trees in the beautiful valley which has been renamed “Once-ler’s Nook.” But soon, a business man comes to the valley and buys The Once-ler’s thneed. The Once-ler convinces himself that he can make money and still take care of the trees; what harm can come of harvesting a few tufts? But, pretty soon, the thneed business begins to grow, and The Once-ler's family moves to the beautiful valley and sets up a thneed knitting factory. More and more Truffula trees are chopped down.

When The Lorax climbs into a tree to enjoy a beautiful sunrise, he sees the devastation that has occurred in the beautiful valley—hardly any trees are left! The Lorax is infuriated and saddened and confronts the now-rich Once-ler. The Once-ler promises The Lorax that he will set up a protected place where no more Truffula trees will be chopped down. But, as the market for thneeds expands and The Once-ler gets caught up in the acclaim he receives for having become such an important business man, he sacrifices the trees he promised The Lorax he would save.

One night, The Lorax and the animals who once made their home in the beautiful valley sneak into the thneed factory to protest The Once-ler's giant thneed operation. The Lorax has even called environmental inspectors to show them the pollution from The Once-ler’s factory. However, The Lorax is no match for the sneakiness of The Onceler or the TV crews and crowds who have come to report on The Once-ler's great enterprise. The Once-ler manages to convince all the people around him that they have no need for nature, just as he did himself. The Lorax disappears, and we soon find out that in the expansion of the thneed business, there is a massive Truffula tree shortage. The Once-ler’s family, now rich from their venture, leaves The Once-ler behind, taking all his money. At that very moment, left alone in his office, The Once-ler finally hears the sickening chop-chop of an axe as the last Truffula tree of the forest is cut down.

The Once-ler, left alone and with nothing, hikes into the valley in search of his friend, The Lorax. He finds The Lorax packing up to leave, after all the animals – Swomee Swans, Barbaloot Bears, and Humming Fish – have left in search of a new home. There are no more animals and no more trees for The Lorax to take care of. Sitting with The Lorax, The Once-ler begins to see for himself the havoc he has wreaked just as The Lorax disappears.

Unable to bear what he has done to his friend and to the beautiful valley he once loved, and no longer able to run his business without any Truffula trees, The Once-ler becomes the recluse we met at the beginning of the play. As he finishes telling his story to the crowd, one of them, a child, asks if it would help to plant a seed. The Once-ler says it would be no use—every seed needs a Lorax to protect it and help it grow—but sends a seed down anyway. The child plants the seed and sits by it through the night. The next morning, a small shoot appears – a very small shoot of a new Truffula tree! The crowd rushes to find The Once-ler and the child, who resolve to both be a Lorax and protect the little tree, because unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.

Content Advisories: (subject to change as the production goes into rehearsal)

Language: 2 out of 5 
Silly and made up language in the style of Dr. Seuss. "Hell" and "Jerk" as well as bathroom humor are used.

Themes and Situations: 2 out of 5 
All of the truffula trees are cut down. A swan dies. Animals get sick. Once-ler uses the word flask but releals a thermos. 

Violence & Scariness: 3 out of 5 
The Once-ler is seen as only glowing eyes and green hands. The Super Ax Hacker is large and can be intimidating. It is driven by dancers wearing masks who can be intimidating. Once-ler pushes Lorax. Animals hit Once-ler with signs. Once-ler slaps a narrator twice. 

Sensory Advisories: 3 out of 5
The Super Ax Hacker looks like a giant motorcycle that is used to chop down trees. It drives towards the audience and the headlight is shown into the audience. Actors come into the audience. Puppet birds fly above the audience. Once-ler throws a handful of candy into the audience. Stobe lights, sirens and heavy fog are used. Tree chopping, factory noises and musical numbers can be loud. 

Potentially Anxious Moments: 3 out of 5 
Trees are chopped down by the Super Ax Hacker, the Once-ler appears as glowing eyes and green hands.

Privacy Policy

Thank you for reviewing the privacy policy and disclaimer.

Children’s Theatre Company (“CTC”) is committed to providing a safe online experience. We collect no personally identifying information, unless you choose to provide us with that information. This statement of Privacy applies to the CTC website and governs data collection and usage. By using the CTC website, you consent to the data practices described in this statement.

If you visit our site to browse, read, watch videos or download, we automatically collect and store only the following information about you:
  • The IP address from which you access our Web site (an IP address serves two principal functions: host or network interface identification and location addressing.)
  • The type of browser and operating system used to access our site
  • The date and time you access our site
  • The pages you visit
  • and The Internet address of the Web site from which you accessed our site

This information is used to improve the functionality of the website—to learn about the number of visitors to our site and the types of technology our visitors use. We do not track or record information about individuals and their visits. We may compile and report aggregate statistics about our users — numbers, traffic patterns, and related site information — but these statistics will include no personally identifying information. CTC is not responsible for privacy statements or other content on websites outside of CTC, including those linked from CTC’s website.


If you identify yourself by submitting mailing list, donor or ticket request forms contained in the site, we use that information only to respond to your message and to help us provide you with the material you have requested or to send you a written acknowledgment of your donation as required by law, or to verify and/or mail purchases and/or to process your ticket order.

You have the option to contact us by phone or by email ( to request that we remove your name from our mailing and/or calling and/or trade list. If you opt to be taken off our mailing list, you will receive no mail from us, including publications or special notices. If you opt to be removed from our calling list, you will receive no calls from us except when a performance is canceled. We will not sell, trade or share a donor’s personal information with anyone else, nor send donor mailings on behalf of other organizations. If you are not a donor and you opt to be removed from our trade list, we will not provide your name to other arts organizations that might be making special offers or anyone else.


CTC’s website uses "cookies" to help you personalize your online experience. A cookie is a text file that is placed on your hard disk by a web page server. Cookies cannot be used to run programs or deliver viruses to your computer. Cookies are uniquely assigned to you, and can only be read by a web server in the domain that issued the cookie to you.

The purpose of a cookie is to tell the web server that you have returned to a specific page. We and our advertising partners, including advertising networks, use information gathered through cookies and other similar technologies, as well as other information we or they may have, to help tailor the ads you see on our sites and to help make decisions about the ads you see on other sites. To opt-out of targeted adversity from many ad networks visit:

You have the ability to accept or decline cookies. Most web browsers automatically accept cookies. Please be aware that some web pages may not work correctly if cookies are disabled. More information is available here:


All credit card transactions including ticket purchases and donations is processed on a secure server. Credit card information is protected by encryption technology, such as the Secure Socket Layer (SSL) protocol. This helps to assure information is protected from unauthorized access.


CTC may occasionally update our Statement of Privacy to reflect customer feedback or changing technologies. CTC encourages you to review this statement periodically.


CTC welcomes comments and questions about or Statement of Privacy. If you believe CTC has not adheared to this statement, please contact us at


Under no circumstances shall CTC, its employees or contractors be liable for any direct, indirect, incidental, special, punitive or consequential damages that may result in any way from your use or inability to use the information provided on this or any other web site supported or maintained by CTC or from your reliance on or use of information, services or merchandise provided on or through the web site or that result from mistakes, errors, omissions, interruptions, defects, deletion of files, delays in operation or transmission or any failure of performance. If you are dissatisfied with the information provided on this web site, or with any of the practices of the CTC in the operation of this web site, your sole and exclusive remedy is to discontinue using the web site.