"Seussical: the Musical," show #913

"Oh, the thinks you can think!" This oft-repeated phrase in Seussical: the Musical is a motivating, inspiring message that securely threads the whimsy, among several other points of poignancy, in this utterly charming musical. Director Toph Otriz and choreographer Glenda Stewart have brought a truly terrific production to the Selma stage. For a show that takes the world of Seuss and sets it to music, the vision must elevate the child-friendly material to an applicable-for-all-ages level, and Ortiz, Stewart, and company accomplish this feat with finesse and fun!

(Allison Botello-Nieto (The Cat in the Hat); Photo source: Selma Arts Center)

I had the pleasure of seeing the Think Cast (several principal roles are double cast, playing alternating weekends. The other cast is named the Wonder Cast) which is led by an appropriately over-the-top Allison Botello-Nieto as the Cat in the Hat and a wonderful Claudio Laso as Horton. As the Cat, Botello-Nieto has, as one of my favorite theatre directors has said of the role, "The Cat has full right to be an agent of chaos!" The fun and antics the Cat is allowed to bring to the stage in song and scenes as various bit personas is an actor’s delight in character voices, physical comedy, and animated deliveries; Botello-Nieto delivers all the above with pizazz, charisma, and welcomed chaos. The opening, “Oh, the Thinks You Can Think,” is led with the right amount of energy, starting at level 100%, and it never lets up. Laso delivers a Horton you want to root for, serving as the heart of the show with the also oft-repeated, “a person’s a person, no matter how small” phrase and theme. Laso’s sensitivity and comedic reactions are in balanced timbre with what the role calls for, and Laso’s vocals are well-placed in “Horton Hears a Who,” and the duet, "Alone in the Universe," opposite Lilliana Perez’s adorable Jojo.

(Standing-Savannah West (Gertrude), Kneeling-Claudio Laso); Photo source: Selma Arts Center)

Playing romantically opposite Laso is Savannah West as Gertrude, the one-feathered tailed bird. It is impossible to not fall immediately in love with West’s Gertrude, rooting for the love between her and Horton so hard you can hardly wait for the relationship to fully blossom. Creators Lynn Ahrens (book, lyrics), Stephen Flaherty (book, music), and Eric Idle (co-conceived) write Horton and Gertrude a true slow-burn love plot in complement to the otherwise whip-fast ongoing drama Horton faces in trying to save WhoVille. West and Laso pace their developing romance expertly. West’s opening solo, “The One Feather Tail of Miss Gertrude McFuzz” is reminiscent of a solo, acoustic Tiny Desk concert, being such a break in established pace--in tone and vibrancy--that you can’t help but lean forward and allow West’s earnest, stellar vocals draw you in to Gertrude’s story. Later, West gives an excellently sung and acrobatically enjoyable “All for You” when reciting to Horton all she endured to help out Horton’s cause. 

(Lilliana Perez (Jojo), Photo source: Selma Arts Center)

Supporting highlights come from Lilliana Perez’s energetic, earnest, and wonder-filled Jojo and Marissa Brandon’s diva-tastic Mayzie. Brandon’s natural belt shines well in “Amazing Mayzie,” and especially in her act one lament, “How Lucky You Are (Mayzie’s Reprise).” In true Greek Chorus-esque support are four stellar Bird Girls (Rose Lily Muniz, Hannah Perez, Erin Day, and Lainey Davis), who give tight harmonies, energetic backup vocals, and execute Stewart’s fabulous choreography with precision and attitude. Adrien Oceguera and April Valle operate well as Mr. and Mrs. Mayor. Their leading of “Here on Who” is bright and bouncy, serving Ortiz’s overall direction and placement of presentation vs. performance perfectly. 

(Claudio Laso (Horton) and Marissa Brandon (Mayzie); Photo source: Selma Arts Center)

Emily Swalef’s makeup/hair/wig design is superb in its pairing with Levi HIlls’ excellent costume design. There is nothing subtle about Seussical; it’s straightforward in its presentation of characters, plot, and messages. Swalef and Hills ensure their design works to serve the whole production, both in the macro-aesthetic and in the micro-characterizations. Nicolette Andersen’s set design is a well-used unit set with a stage, walls, and windows that are effective in transitioning seamlessly between locales, points-of-view, and allowing the smaller and bigger-cast songs have plenty of room to breathe. Vinny Galindo’s lighting design pops and illuminates with consistent fancies for the large company numbers and intimate solo/duet turns. KIm Houston’s puppet design is a fun add-on, an effort that makes the residents of WhoVille, sans Jojo, add a dynamic of whimsy which complements the storytelling and character engagement. 

(Cast members of WhoVille, with Adrien Oceguera (Mr. Mayor) and April Valle (Mrs. Mayor) leading in front flanking the Ensemble; Photo source: Selma Arts Center)

Seussical: the Musical is always a laugh-filled delight while also serving as a modern musical hug. When productions like this have clear focus, undeniable talent, and universally crisp technical designs, you can’t help but enjoy every minute of this show. Go bring the family and get your Seuss on over at Selma Arts Center and you’ll soon realize just how lucky you are that a show such as this great is being done with such excellence.