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Dr. Seuss's The Lorax

July 02 - August 12

Donald and Darlene Shiley Stage
Old Globe Theatre
Conrad Prebys Theatre Center

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Dr. Seuss's The Lorax
Buy Tickets


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.

Production Sponsors
Peter Cooper
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.

Groups of 10 or more may purchase discounted tickets, and tickets may also be purchased as part of a money-saving season package.

Learn more about group discounts
Learn more about season package



Cast and Creative



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).

Rob Howell (Scenic & 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); andThe 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.

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).

Finn Caldwell (Puppetry Director & Puppetry 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). 

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) 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.

Elan McMahan (Musical Director) has 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, most recently In the Heights, The Little Mermaid, Titanic, Big Fish, Catch Me If You Can,and The Music Man. She has received two 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; and in 2015 for Moonlight’s Big Fish. Ms. McMahan holds a B.Mus. from Brigham Young University and an M.Mus. from St. Louis Conservatory of Music.

Stacy McIntosh (Production 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.


Vicki and Carl Zeiger Insights Seminars

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.


Post-Show Forums

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


“Ridiculously good! Catchy songs, impressive sets, wickedly clever direction—a show you do not need to be a kid to love!” —Minneapolis Star-Tribune

“A splendid slice of Seuss! So good! Equally entertaining for 8-year-olds and adults.” —St. Paul Pioneer Press