Everything you need to know about ‘Dr. Seuss’s The Lorax’
Children’s Theatre Company and The Old Globe in Partnership with The Old Vic Announce the U.S. Premiere of ‘Dr. Seuss’s The Lorax’
Children’s Theatre Company (CTC) together with The Old Globe (San Diego) in partnership with The Old Vic (London) today announced details for the Minneapolis and San Diego productions of Dr. Seuss’s The Lorax, based on the book The Lorax by Dr. Seuss. The musical is adapted for the stage by David Greig (Artistic Director of the Royal Lyceum Theatre Company; recent work: Charlie and the Chocolate Factory, Cover My Tracks) with music and lyrics written by Charlie Fink (Frontman/songwriter for the hit musical group, Noah and the Whale (2007–2015)). The musical will have its U.S. premiere at CTC followed by an immediate transfer to The Old Globe in San Diego. H. Adam Harris, combined with Meghan Kreidler and Rick Miller puppeteering, will play The Lorax. Joining them is Steven Epp as The Once-ler. Playing multiple roles in the ensemble are Ansa Akyea, Christopher Becknell, Stephanie Bertumen, Brian Bose, Ryan Colbert, Lynnea Doublette, Johannah “Joh” Easley, Rajané Katurah, Ryan Lear, Ryan Dean Maltz, Emily Michaels King and CTC Company Member Autumn Ness. Learn more about the cast here.
“Dr. Seuss Enterprises is thrilled to see this fantastic show, which premiered at The Old Vic in London, make its way across the ocean to two theatres with whom we have longstanding relationships — Children’s Theatre Company in Minneapolis and The Old Globe in San Diego,” said Susan Brandt, President of Dr. Seuss Enterprises, L.P. “With continued headlines focused on environmental concerns such as deforestation, pollution, and melting ice caps, The Lorax’s message is one that remains relevant and poignant almost 50 years after it was written. It is gratifying to see three of the world’s best theatres bring Ted Geisel’s important message about taking care of our planet and each other to the next generation of Seuss fans and naturalists.”
Dr. Seuss’s The Lorax, originally produced by The Old Vic in London, is directed by Max Webster (Associate Director at The Old Vic) with choreography by Drew McOnie (Olivier Award Winner for Best Theatre Choreographer for In the Heights), scenic and costume design by Rob Howell (Broadway credits: Groundhog Day, Roald Dahl’s Matilda the Musical, Ghost the Musical, Private Lives), lighting design by Jon Clark (Associate Artist of the Royal Shakespeare Company) and sound design by Tom Gibbons (Oliver Award for Best Sound Design for People, Places and Things). Puppet direction is by Finn Caldwell for Gyre and Gimble (Broadway’s War Horse and Angels in America), puppetry design by Finn Caldwell and Nick Barnes (West End’s Mr. Popper’s Penguins, London 2012 Olympic Games Opening Ceremony) and musical supervisor and arranger Phil Bateman (Original Music Director for West End’s Billy Elliot the Musical, vocal arranger for the film Kinky Boots). CTC’s creative team includes associate director James Vasquez (the Globe’s American Mariachi and Dr. Seuss’s How the Grinch Stole Christmas!), music direction by Victor Zupanc (CTC’s resident composer and music director) and stage manager Stacy McIntosh. See below for complete bio information.
“We are thrilled to bring our audiences the U.S. premiere of Dr. Seuss’s The Lorax, a powerful, witty and important story for all generations,” said Children’s Theatre Company Artistic Director Peter C. Brosius. “We are excited to welcome the London production’s creative team to Minneapolis, and delighted that after our production the fabulous cast of Minnesota actors will all travel to The Old Globe in San Diego. Our partnership with The Old Globe and The Old Vic further advances our mission of reaching multigenerational audiences both in our state and across this country with extraordinary theatrical productions.”
“Having Dr. Seuss’s The Lorax at The Old Globe is exciting in a slew of ways, but two stand out,” said Erna Finci Viterbi Artistic Director Barry Edelstein. “First, the story itself is charming, fun, and timely, and this theatrical adaptation of it is just a thrill to watch. It’s a sophisticated, grown-up telling of a masterful tale for young people, a charming and winning piece of theatre that truly offers something for everyone. The second wonderful thing about The Lorax in our season is that it continues our relationship with San Diego’s own Dr. Seuss. This relationship spans two decades in which the Grinch has brought his unique wit and heart to our audiences. Now The Lorax joins him as a member of the Globe family. I can’t wait.”
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 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.
The Minneapolis production is proudly sponsored by U.S. Bank, Land O’Lakes, Inc. and Piper Jaffray. Dr. Seuss’s The Lorax begins April 15 and runs through June 10, 2018, on the UnitedHealth Group Stage and is recommended for all ages. Tickets can be purchased at childrenstheatre.org or by calling the ticket office at 612.874.0400.
About Children’s Theatre Company
Children’s Theatre Company (CTC) is the nation’s largest and most acclaimed theatre for multigenerational audiences. It creates theatre experiences that educate, challenge, and inspire for nearly 275,000 people annually. CTC is the only theatre focused on young audiences to win the coveted Tony Award® for Outstanding Regional Theatre and is the only theatre in Minnesota to receive three Tony® nominations (for its production of A Year with Frog and Toad). CTC is committed to producing world class productions at the highest level and to developing new works, more than 200 to date, dramatically changing the canon of work for young audiences.
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 is London’s independent not-for-profit theatre, creating world-class entertainment. Through our eclectic and adventurous work on stage, projects with young people, employability programmes, digital outreach, all-day café and late night cocktail bar, The Old Vic under Artistic Director Matthew Warchus is an exciting and inviting place to be. We trade in creative imagination. It is the commodity that will be most prized tomorrow and the reason why The Old Vic is as vital today as it was in 1818 when it first opened its doors.
About Dr. Seuss
Theodor “Seuss” Geisel is quite simply the most beloved children’s book author of all time. Winner of the Pulitzer Prize in 1984, three Academy Awards, two Emmy Awards, three Grammy Awards, and three Caldecott Honors, Geisel wrote and illustrated 45 books for children. Hundreds of millions of copies have found their way into homes and hearts around the world. While Theodor Geisel died on September 24, 1991, Dr. Seuss lives on, inspiring generations of children of all ages to explore the joys of reading. For more information about Dr. Seuss and his works, visit Seussville.com.
Dr. Seuss Enterprises, L.P.
The primary focus of Dr. Seuss Enterprises, L.P. is to protect the integrity of the Dr. Seuss books while expanding beyond books into ancillary areas. This effort is a strategic part of the overall mission to nurture and safeguard the relationship people have with Dr. Seuss characters. Theodor Seuss Geisel (Dr. Seuss) said he never wanted to license his characters to anyone who would “round out the edges.” That is one of the guiding philosophies of Dr. Seuss Enterprises.
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
Choreographed by Drew McOnie
Music Direction by Victor Zupanc
Puppet Direction by Finn Caldwell for Gyre & Gimble
Scenic and Costume Design by Rob Howell
Best enjoyed by everyone
Children’s Theatre Company
UnitedHealth Group Stage
April 15 — June 10, 2018
Old Globe Theatre
Donald and Darlene Shiley Stage
July 2 — August 12, 2018
Creative Team & Production Staff
Director: Max Webster
Choreographer: Drew McOnie
Music Director & Conductor: Victor Zupanc
Puppet Direction by Finn Caldwell for Gyre & Gimble
Scenic & Costume Designer: Rob Howell
Puppetry Designers: Nick Barnes and Finn Caldwell
Lighting Designer: Jon Clark
Sound Designer: Tom Gibbons
Musical Supervisor and Arranger: Phil Bateman
Associate Director: James Vasquez
Associate Choreographer: Micki Weiner
Associate Scenic Designer: Ben Davies
Associate Costume Designer: Irene Bohan
Associate Lighting Designer: Tim Deiling
Associate Sound Designer: Sten Severson
Assistant Director: Natalie Novacek
Assistant Lighting Designers: Gina Scherr and Katie Deutsch
Assistant Sound Designer: Katharine Horowitz
Stage Manager: Stacy McIntosh
Assistant Stage Manager: Chris Schweiger
Assistant Stage Manager: Nate Stanger
Stage Management Intern: Kaeli Melin
Cast (in alphabetical order)
Ansa Akyea | Once-ler Dad /Inspector
Christopher Becknell | Musician/Storyteller
Stephanie Bertumen | Once-ler Family/McGee/Inspector
Brian Bose | Once-ler Family/Bear
Ryan Colbert | Small Ed/Storyteller
Lynnea Doublette | Storyteller
Johannah “Joh” Easley | Child/Once-ler Family
Steven Epp | The Once-ler
H. Adam Harris | The Lorax: voice and puppeteer
Rajané Katurah | Granny Once-ler/Von Goo
Meghan Kreidler | The Lorax puppeteer
Ryan Lear | Musician/Storyteller
Ryan Dean Maltz | Storyteller
Emily Michaels King | Dance Captain/Swan/Once-ler Family
Rick Miller | The Lorax puppeteer
Autumn Ness | Mommy Once-ler/Samelore Bews
Runtime:
Approximately 2 hours with one 15-minute intermission
Tickets:
The Ticket Office is accessible by phone Tuesdays-Friday, 11AM-5PM. These posted hours are subject to change.
Email: tickets@childrenstheatre.org (inquiries only, no ticket processing)
Phone: 612.874.0400
Website: childrenstheatre.org
Lap passes available for children newborn to three years for $5
ASL/AD Performance: May 18 at 7pm
ASL Only Performance: May 20 at 5pm
Sensory Friendly Performance: June 8 at 7pm
Creative Team Bios
David Greig (Playwright) is an award-winning playwright and, since 2016, Artistic Director of the Royal Lyceum Theatre Company, Edinburgh. His plays have been staged in the U.K. and around the world. Recent work includes: 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) 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’s 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) was the inaugural Baylis Director at The Old Vic under Matthew Warchus and is an Associate Director at the theatre. Credits as director: Fanny & Alexander; Dr Seuss’s The Lorax; Cover My Tracks (The Old Vic); The Jungle Book (Fiery Angel/Royal & Derngate, Northampton/Tour); The Winter’s Tale (The Lyceum Theatre, Edinburgh); The Twits (Leicester Curve/Tour); Owen Wingrave (British Youth Opera); King Lear (Royal & Derngate, Northampton/U.K. tour); Mary Stuart (PARCO Productions, Tokyo); Orlando; To Kill a Mockingbird; My Young and Foolish Heart (Royal Exchange Theatre, Manchester); James & The Giant Peach; My Generation (West Yorkshire Playhouse); Twelfth Night (Regent’s Park Open Air Theatre); Shostakovich’s Hamlet (City of London Symphonia); Much Ado About Nothing (Shakespeare’s Globe/World Tour); Anna Karenina (Arcola Theatre); The Chalk Circle (Aarohan Theatre). Forthcoming projects: As You Like It (Regent’s Park Open Air Theatre).
Drew McOnie (Choreographer) 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) 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 Radio as well as 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, among many others.victorzupanc.com
Rob Howell (Scenic and Costume Designer)
Theatre: A Christmas Carol, Groundhog Day, The Caretaker, The Master Builder, Future Conditional, A Flea in Her Ear, Inherit the Wind, Speed-the-Plow, Complicit (The Old Vic); and The Norman Conquests (The Old Vic/Broadway). Rob has also worked at the National Theatre, Royal Shakespeare Company, 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 and Co-Designer) is co-Artistic Director of Gyre & Gimble, a theatre company specialising in puppetry. As Co-Director/Puppet Designer: The Four Seasons (Fuel Theatre/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 & West End); Running Wild (Chichester, Regent’s Park & tour). Director of Puppetry/Movement: Angels in America (National Theatre and Broadway); The Light Princess (National Theatre); War Horse (National Theatre, West End and international); Groundhog Day (Additional Movement — The Old Vic and Broadway); Dr. Seuss’s The Lorax (The Old Vic); The Bear (Puppetry Director — Pins & 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 (ENO & Met Opera), Shunkin, A Dog’s Heart, The Master and Margarita (Complicite), Faeries (Royal Opera House) and His Dark Materials (Birmingham Rep). 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 UK 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’ The Lorax (Old Vic & Toronto), Angels in America (NT & Broadway) and Ariodante (Aix-en-Provence Festival). As Co-Director/Co-Designer credits include: The First Hippo on the Moon (UK. 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 Shakespeare 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 Vasquez (Associate Director) recently directed the world premiere of American Mariachi at The Old Globe and Denver Center for the Performing Arts. At the Old Globe, he’s directed Dr. Seuss’s How The Grinch Stole Christmas!; the west coast premiere of Rich Girl; and The Rocky Horror Show, as well as providing 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) is thrilled to be setting Drew McOnie’s original choreography for the American premier of Dr. Seuss’s The Lorax. She’s worked as an associate to choreographer Chase Brock on numerous projects to include HAIR to Hamilton (Public Theater); Darling Grenadine (Goodspeed Opera); The Tempest (Public Theater); and Pippin (Kansas City Rep). Micki’s performance credits include Phantom of the Opera (25th Anniversary Tour); The Chase Brock Experience; Zorro (International Tour); How To Succeed In Business (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) 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 on 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 & 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) 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; Merchant of Venice (Broadway); Audelco Award winning The Total Bent (Public Theater); Hamlet; Othello; Comedy of Errors (The Old Globe in San Diego); Into the Woods; and King Lear (Delacorte Theater in Central Park). He has taught at NYU’s Tisch School for the Arts and the Yale School of Drama.
Stacy McIntosh (Stage Manager) 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.
Dr. Seuss’s The Lorax ran at Children’s Theatre Company April 15 — June 10, 2018.
