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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
Presented by The Old Globe and Children’s Theatre Company, in partnership with The Old Vic
Originally produced at The Old Vic in London
Direct from London’s West End comes the critically acclaimed and Olivier Award-nominated musical event of the summer. Silky soft Truffula trees provide the perfect ingredient for a nifty new garment. But when demand skyrockets, who will speak for all the trees in the Truffula forest? Enter the Lorax. Dr. Seuss’s The Lorax has been enchanting adults and children alike for generations, and this summer his irresistible, big-hearted, mustachioed hero will be brought to inventive life in what critics call a “mad, uproarious delight” (The Independent). Audiences of all ages will be thrilled by the brilliant, eye-popping colors, infectious music, and beloved story that the Financial Times called “joyous and all-too-timely.”
Children under three years of age will not be admitted to performances. Each audience member must have a ticket to be admitted into the theatre.
Child tickets start at $30
Adult tickets start at $40
Dr. Seuss Properties TM & © 2015 Dr. Seuss Enterprises, L.P. All Rights Reserved.
Elaine and Dave Darwin
Hal and Pam Fuson
Artist Sponsor for H. Adam Harris
Jo Ann Kilty
Running time: Two hours. There is one 15-minute intermission.
David Greig (Adaptor) 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. His recent work includes The Suppliant Women (Lyceum, U.K. tour, Young Vic), Cover My Tracks (The Old Vic, Latitude Festival, U.K. tour), Charlie and the Chocolate Factory (Broadway, West End), Lanark (Citizens Theatre, Edinburgh), The Events (Traverse Theatre, Young Vic), Midsummer (Traverse Theatre, Soho Theatre, Tricycle Theatre), Dunsinane (Royal Shakespeare Company), The Strange Undoing of Prudencia Hart (National Theatre of Scotland), and Monster in the Hall and Yellow Moon (TAG Theatre Company, Glasgow).
Charlie Fink (Music and Lyrics) was front man and songwriter for Noah and the Whale from 2007 to 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 and produced music for Charlotte Gainsbourg, Foxes, and Eliot Sumner, among others. He has also directed music videos and two extended short films, and he wrote the music for and performed in Cover My Tracks (The Old Vic, Latitude Festival, U.K. tour).
Max Webster (Director) is an Associate Director at The Old Vic. He has directed Fanny & Alexander, Dr. Seuss’s The Lorax, and Cover My Tracks (The Old Vic), The Jungle Book (Fiery Angel), The Winter’s Tale (Royal Lyceum Theatre Edinburgh), The Twits (Curve Theatre), King Lear (Royal & Derngate in Northampton), Mary Stuart (Parco Theatre in Tokyo), Orlando, To Kill a Mockingbird, and My Young and Foolish Heart (Royal Exchange Theatre in Manchester), James and the Giant Peach and My Generation (West Yorkshire Playhouse), Twelfth Night (Regent’s Park Open Air Theatre), and Much Ado About Nothing (Shakespeare’s Globe).
Drew McOnie (Choreographer) is Artistic Director of The McOnie Company and an Associate Artist at The Old Vic. His credits with The McOnie Company include Jekyll & Hyde (The Old Vic; BroadwayWorld UK Award for Outstanding Achievement in a New Dance Production) and Drunk (Curve Theatre, Bridewell Theatre). He has served as director/choreographer for Strictly Ballroom (Piccadilly Theatre), King Kong (Broadway), On the Town (Regent’s Park Open Air Theatre), and The Wild Party (The Other Palace). His credits as choreographer include Jesus Christ Superstar (Regent’s Park Open Air Theatre; Olivier Award nomination for Best Theatre Choreographer), Bugsy Malone (Lyric Hammersmith), In the Heights (Southwark Playhouse, Kings Cross Theatre; Olivier Award for Best Theatre Choreographer), Hairspray (U.K. tour; BroadwayWorld UK Award for Best Choreography), and Oklahoma! (national tour).
Rob Howell (Scenic and Costume Design) has notably designed Groundhog Day, The Caretaker, The Master Builder, Future Conditional, A Flea in Her Ear, Inherit the Wind, Speed-the-Plow, and Complicit (The Old Vic) and The Norman Conquests (The Old Vic, Broadway). He has also worked at National Theatre, Royal Shakespeare Company, Royal Court Theatre, Almeida Theatre, Donmar Warehouse, Young Vic, Bristol Old Vic, Chichester Festival Theatre, West Yorkshire Playhouse, Royal Exchange Theatre in Manchester, Royal Opera House, Metropolitan Opera, and Broadway. He has won three Olivier Awards for Set Design, including for Matilda The Musical,for which he also won Drama Desk, Outer Critics Circle, and Tony Awards. Mr. Howell is an Associate Artist at The Old Vic.
Jon Clark (Lighting Design) has designed extensively for National Theatre, Royal Shakespeare Company, Young Vic, Almeida Theatre, Donmar Warehouse, Royal Court Theatre, the West End, Broadway, and many other companies internationally. He twice has been nominated for an Olivier Award, and he is the recipient of Green Room and Knight of Illumination Awards. His recent designs for theatre include The Jungle and The Inheritance (Young Vic, West End), The Lehman Trilogy, Amadeus, and Absolute Hell (National Theatre), and King Charles III (Music Box Theatre).His recent designs for opera include The Exterminating Angel (Metropolitan Opera, Royal Opera House, Salzburg Festival, Royal Danish Opera), Lucia di Lammermoor, Król Roger, and Written on Skin (Royal Opera House), and Hamlet (Glyndebourne Festival, Adelaide Festival).
Tom Gibbons (Sound Design) has designed Fanny & Alexander (The Old Vic), Life of Galileo, Happy Days, A Season in the Congo, and 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 and Oresteia (Almeida Theatre, West End), Hedda Gabler (National Theatre, U.K. tour), People, Places & Things (National Theatre, West End, St. Ann’s Warehouse; Olivier Award for Best Sound Design), The Red Barn and Sunset at the Villa Thalia (National Theatre), As You Like It and The White Devil (Royal Shakespeare Company), Julius Caesar and Henry IV (Donmar Warehouse, St. Ann’s Warehouse), Love, Love, Love (Royal Court Theatre), Lionboy (Complicité), Anna Karenina (Royal Exchange Theatre in Manchester), The Crucible (Broadway), and Les Misérables (Wermland Opera in Sweden).
Finn Caldwell (Puppet Direction, Puppetry Co-Design) is Co-Artistic Director of Gyre & Gimble, a theatre company specializing in puppetry. His credits as co-director/puppet designer include The Four Seasons (Shakespeare’s Globe), The Hartlepool Monkey (Fuel Theatre, Gyre & Gimble tour), The Elephantom (National Theatre, West End), and David Walliams’ The First Hippo on the Moon (Les Petits tour). As puppet co-designer/director his credits include The Grinning Man (Bristol Old Vic, West End) and Running Wild (Chichester Festival Theatre, Regent’s Park Open Air Theatre, tour). Mr. Caldwell’s other credits include Angels in America (director of puppetry/movement; National Theatre, Broadway), The Light Princess (director of puppetry/movement; National Theatre), War Horse (associate puppetry director; National Theatre, West End, international tour), Groundhog Day (additional movement; The Old Vic, Broadway), The Bear (puppetry director; Pins and Needles Productions), The Tempest (Birmingham Royal Ballet), Alice’s Adventures Underground (Les Enfants Terribles), Ariodante (Aix-en-Provence Festival), and Shrek The Musical (West End).
Nick Barnes (Puppetry Co-Design) co-founded Blind Summit Theatre in 1996 and was the Co-Artistic Director for many years. He 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 created puppetry for Madama Butterfly (English National Opera/Metropolitan Opera), Shunkin, A Dog’s Heart, and The Master and Margarita (Complicité), Faeries (Royal Opera House), and His Dark Materials (Birmingham Repertory Theatre). They also directed the puppetry for the 2012 London Olympic Games Opening Ceremony. Mr. Barnes left Blind Summit in 2013 and remains an Associate Artist. His 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, Off Broadway). His work as co-puppetry designer includes Dr. Seuss’s The Lorax (The Old Vic/Mirvish Productions, Children’s Theatre Company), Angels in America (National Theatre, Broadway), and Ariodante (Aix-en-Provence Festival). He is also the co-director/co-designer of David Walliams’ The First Hippo on the Moon (U.K. tour).
Phil Bateman (Music Supervisor and Arranger) has served as music supervisor and vocal arranger for One Love: The Bob Marley Musical (Birmingham Repertory Theatre); as music director/orchestrator for Bugsy Malone (Lyric Hammersmith); as music supervisor/vocal arranger for Made in Dagenham and Imagine This (West End); and as music director/music supervisor/vocal arranger for I Can’t Sing (West End). He was the original music director for Billy Elliot: The Musical on the West End, and he served as music supervisor/vocal arranger/additional music for Our House on the West End and U.K. tour. Mr. Bateman has been music director for Hello, Dolly! and Gigi (Regent’s Park Open Air Theatre), Three Sisters, The Human Comedy, My Dad’s a Birdman, After Miss Julie, and Vernon God Little (Young Vic), She Loves Me (Minerva Theatre/Chichester Festival Theatre), Treasure Island (Rose Theatre Kingston), Piaf (Sheffield Theatres/Crucible), and Cinderella (Bristol Old Vic). For film, he served as singing coach/vocal arranger for Kinky Boots and singing coach for Cemetery Junction. For television, he composed for “The Big Performance” and “Extreme School” (CBBC).
Elan McMahan (Music Direction) previously worked on the Globe productions of Dr. Seuss’s How the Grinch Stole Christmas! (2011, 2013–2017), the Summer Shakespeare Festival (2012–2013), and the New Voices Festival reading of Cake Off (2015). She is the Resident Musical Director at Moonlight Stage Productions with over 50 productions to her name. She has received three San Diego Theatre Critics Circle Craig Noel Awards for Outstanding Musical Direction: in 2012, for her body of work, including Moonlight’s Sweeney Todd and Fiddler on the Roof and the Globe’s As You Like It; in 2015 for Moonlight’s Big Fish; and in 2017 for Moonlight’s In the Heights. Ms. McMahan holds a B.Mus. from Brigham Young University and an M.Mus. from St. Louis Conservatory of Music.
James Vásquez (Associate Director) recently directed the world premiere of American Mariachi at The Old Globe and Denver Center for the Performing Arts Theatre Company. At The Old Globe, he has directed Dr. Seuss’s How the Grinch Stole Christmas!, the West Coast premiere of Rich Girl, and Richard O’Brien’s The Rocky Horror Show, and he provided musical staging for A Midsummer Night’s Dream and The Comedy of Errors. He has won two San Diego Theatre Critics Circle Awards for Outstanding Direction of a Musical, most recently for 2017’s In the Heights with Moonlight Stage Productions. He is a graduate of the Juilliard School.
Stacy McIntosh (Production Stage Manager) is in her 20th season at Children’s Theatre Company, where she has managed over 70 productions. 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, Broadway). She has also worked at Guthrie Theater and Illusion Theater in Minneapolis; Marin Theatre Company and Willows Theatre Company in the Bay Area; and The New Victory Theater and Cort Theatre in New York City. In addition to her theatre management, she has also stage managed the NHL Stadium Series and the pre-game event for Super Bowl LII. Mrs. McIntosh is a graduate of University of Northern Iowa and is a proud member of Actors’ Equity Association.
Chandra R.M. Anthenill (Assistant Stage Manager) has worked on the Globe productions of A Thousand Splendid Suns, Twelfth Night (Globe for All), Guys and Dolls, Camp David, and The Comedy of Errors. Her credits as production stage manager include Beachtown, Roz & Ray, Into the Beautiful North, R. Buckminster Fuller: THE HISTORY (and Mystery) OF THE UNIVERSE, Outside Mullingar, The Oldest Boy, Everybody’s Talkin’: The Music of Harry Nilsson, Oedipus El Rey, and Honky (San Diego Repertory Theatre), The Last Wife, Bad Jews, Sons of the Prophet, True West, Fool for Love, Spring Awakening, Assassins, and Company (Cygnet Theatre Company), and Pippin (Diversionary Theatre). Her credits as assistant stage manager include Junk: The Golden Age of Debt (La Jolla Playhouse), In the Next Room or the vibrator play, The Who’s Tommy, Walter Cronkite Is Dead, Tortilla Curtain, and Zoot Suit (San Diego Repertory Theatre), and Dirty Blonde (Cygnet Theatre Company). Ms. Anthenill is a proud member of Actors’ Equity Association.
Chris Schweiger (Assistant Stage Manager, June 22 – July 6) is in her 16th season at Children’s Theatre Company. She has also worked in Minneapolis at Guthrie Theater, Mixed Blood Theatre, Theater Latté Da, Ragamala Dance Company, and Illusion Theater. In addition, she has worked across the country at Arena Stage, Seattle Children’s Theatre, The New Victory Theater, Alpine Theatre Project, Utah Shakespeare Festival, and Perseverance Theatre. She received her B.S. in Theatre from Northwestern University’s School of Communication and was a Peace Corps Volunteer for three years in Mongolia.
The Old Vic (Co-Producer) is London’s independent not-for-profit theatre, a world leader in creativity and entertainment. The Old Vic is mercurial: it can be transformed into a theatre in the round or a space for music and comedy, and it has played host to opera, dance, cinema, music hall, classical dramas, variety, clowns, big spectacles, and novelty acts. Today, Artistic Director Matthew Warchus is building on 200 years of creative adventure, with The Old Vic recently being hailed as London’s most eclectic and frequently electrifying theatre. Under his leadership, the company aims to be a surprising, unpredictable, groundbreaking, rule-breaking, independent beacon of accessible, uplifting, and
Children’s Theatre Company (Co-Producer) 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. CTC’s engagement and learning programs annually serve more than 85,000 students ages 2 to 18 through Theatre Arts Training, student matinees, Bridges, and early childhood arts education programs that bring students to the theatre and bring teaching artists into the classroom. The ACT One program is CTC’s comprehensive platform for access, diversity, and inclusion in our audiences, programs, staff, and board that strives to ensure the theatre is a home for all people, all families, reflective of our community. childrenstheatre.org.
This series provides Old Globe patrons with an opportunity to closely connect with productions both onstage and backstage. A panel selected from the artistic company of each show (playwrights, actors, directors, designers, and/or technicians) engages patrons in an informal and illuminating presentation of ideas and insights to enhance the theatre going experience. Each Insights Seminar takes place 90 minutes before curtain time on the Tuesday after performances begin, and includes an informal reception 30 minutes before the start. FREE; no reservations necessary.
Tuesday, July 3, 2018 at 5:30 p.m.
Join us after the show for an informal and enlightening question-and-answer session with cast members. Get the "inside story" on creating a character and putting together a professional production. Post-show forums are scheduled after select Tuesday and Wednesday evening performances. FREE; no reservations necessary.
Tuesday, July 10, 2018
Tuesday, July 17, 2018
Wednesday, July 11, 2018