Seussical the Musical - 7.5 out of 10
Hills Youth Theatre
Tickets: Seussical the Musical
Hills Youth Theatre’s production of Seussical the Musical is a colourful, good-hearted celebration of Dr. Seuss that excels in character work, visual storytelling, and youth ensemble energy, even while some technical elements still need refinement. The result is a charming, community-focused show that captures the spirit of imagination, loyalty, and fun at the heart of Seussical.
The creative team, led by Lucy Russell Byrne and Jaimi
Wilson, draws clear, purposeful character choices from their young cast, and
the inclusion of Hills Youth Theatre students in production roles such as
choreography, set construction, costumes, publicity, and design is a particular
strength, fostering skills beyond the stage. The 25-strong principal cast,
bolstered by seven junior and senior youth classes filling out the ensemble as
Fish, Whos, Dance Troupe, Cadets, Circus Folk, Hunters, and Jungle Citizens,
provides a rich tapestry of performance.
Avah Bowen’s Cat in the Hat is a magnetic presence, a
confident storyteller with great character choices and a strong grasp on
the Cat’s multiple personas as narrator and mischief-maker. Crowd work at the
top of Act Two is playful and well received, matching the strength of the
characterisation throughout the musical.
As Jojo, Hannah Kent offers one of the evening’s most secure performances, combining excellent projection with thoughtful characterisation and confident stagecraft. “It’s Possible” and “Solla Sollew” with Horton become highlights, beautifully sung and anchored in a clear understanding of Jojo’s imaginative inner world.
Sam Whitehead’s Horton is youthfully drawn yet always clearly heard, with strong facial expressions and an obvious understanding of Horton’s gentle integrity. His choreography is well handled, and numbers such as “How Lucky You Are” and the duet with Jojo in “Solla Sollew” showcase both vocal skill and emotional connection.
Henrik Dewick’s Sour Kangaroo is big in every sense: big
voice, big character, and big physicality, unafraid to dominate the stage. The
love of indulgent riffing is evident. The few opportunities Livvy Whitehead as
Young Kangaroo receives is well-delivered and very clear.
As Gertrude, Ivy Coligan offers a sweet, nuanced
performance, particularly in the small gestures and attitude that define her
shy character. In Act One, projection sometimes falls behind the music,
especially while playing Gertrude’s timidity, but this restraint pays off in
Act Two when Gertrude returns to Horton at the circus with newfound confidence.
“All For You” reveals a superbly strong voice and confirms the long build-up as
a deliberate and rewarding character arc.
The Wickersham Brothers (Jackson Barnes, Josiah Braendler,
Janae Lee) bring vibrant energy and unified teamwork, with fun details such as
matching green hair adding to their mischievous appeal. Their scenes are
consistently enjoyable to watch.
Beren Carney as General Genghis Khan Schmitz uses sharp physical acting and solid vocal work to create a memorable comic authority figure, maintaining character right up until fully offstage and demonstrating strong stagecraft.
Audrey Coligan’s Mayzie La Bird is well supported by a fun dance troupe and delivers her songs cleanly, though there is a sense that she is holding back vocally. Numbers such as Mayzie’s circus sequence feel like they could soar even higher if she leaned fully into the belt and bravado the character invites.
Mr and Mrs Mayor (Arabella Wells and Sophie Calder) are visually striking and handle the Seussian nonsense text with admirable precision, landing the rhythms and absurdity without missing a beat.
The ensemble is clearly well-rehearsed, generally in time
with music and choreography, and their commitment shows in every scene. The
circus sequence particularly highlights some impressive acrobatic and
flexibility skills, giving the show an extra flourish of spectacle. The finale
brings together principals and ensemble in a strong, cohesive closing that
reinforces the themes of unity and imagination.
From the moment audience members enter the venue, the experience feels deliberately immersive and welcoming. Actors in costume assist with front of house duties, selling programs and guiding patrons to their seats, immediately blurring the line between Seuss’s world and the real one. The director’s choice to mingle in the foyer, introducing herself and chatting with audience members, further establishes a warm, inclusive environment that suits a youth company.
Inside the auditorium, the visual impact is striking: walls and doors in front of the curtain are painted in bold, whimsical Seuss-style artwork that grace book covers. This aesthetic continues onstage with painted wings and back wall, while the set itself remains minimal and functional, allowing the story and performances to stay in focus rather than being overwhelmed by scenery.
While the set is minimal, the costumes are not. The costume design is loud, plentiful, and thoughtfully coordinated, using bright colour palettes to clearly define each group: yellow-clad Whoville citizens, matching Wickersham Brothers, a grey Horton, and the familiar red-and-white flair of the Cat in the Hat. The ensemble characters are given room for sparkle and extravagance, adding visual dynamism to ensemble scenes, thanks to the countless hours of the costume creators.
Mayzie La Bird and her posse are costumed to be gloriously
“extra,” in sharp contrast to Gertrude’s more modest look, neatly underlining
their character differences. This visual storytelling supports the narrative,
adds depth to character relationships, and lifts the entire production to
another level without overwhelming the young performers.
Technically, the production is less consistent. Sound mixing is the most noticeable issue: backing tracks often overpowering performers, making it difficult to hear many onstage. Notable mention to the coughing into an active microphone offstage. By contrast, the lighting design is frequently very effective, particularly in sequences such as “Havin’ a Hunch,” where it significantly enhances mood and focus. At times, lighting cue changes are exposed, drawing attention to themselves rather than seamlessly supporting the action. With smoother transitions, the design’s strengths could shine through without any distraction.
This production succeeds as a vibrant, youth-driven production that foregrounds imagination, community, and the joy of performance. The combination of a strong creative team, thoughtful visual design, and committed young performers creates an engaging night at the theatre that honours both the creator and the developmental goals of a youth company, offering a delightful journey through the world of Seuss.
- Andrew Broadbent
Comments
Post a Comment