it was written in 1971. Its con- cerns, so prescient then, have only become more pressing in the four decades since. How do we balance commercial activity with sensitive preserva- tion of our natural resources? In the contest between individual desire and the common good, who wins?” “Dr. Seuss couched his environ-
and started feeding me lines—as I was reading I was trying to decide what the
h. adam harris
Lorax sounds like—young and somewhat supernatural, but not. I saw a moment where the director perked up, so I stayed
mental message in his signature zaniness. His drawings are spectacular, conjuring as always those things in nature that are so wild that they seem unreal. But then, he could see stranger- looking trees than Truffulas outside his studio window in La Jolla,” continued Edelstein. “That’s the fun of Dr. Seuss: he helps us see anew the wonders around us that are all too easy to take for granted. What a gift. The team of artists and actors who have translated that special Seussian whimsy to the stage have studied the master well.” Interestingly, the Lorax himself is a puppet controlled by three puppe- teers/actors. The facial puppeteering and voice come fromH. Adam Harris, a Minneapolis-based actor, teaching artist and cultural equity consultant. He works at the intersection of theatre, education, social justice, and community engagement…a perfect job forThe Lorax! While Harris is the voice and does the facial pup-
(l to r) meghan kreidler, rick miller, and h. adam harris as the lorax. photo by dan norman.
Susan Brandt, President of Dr. Seuss Enterprises,
L.P. says, “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.” Edelstein concurred, “I rereadThe Loraxwith my kids recently and frankly found it hard to believe that
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.”
on that track. It was a sweet moment. They said, ‘Thank you’ and asked if this role is something I would be interested in doing? I had no idea that was my actual audition, but I said ‘Yes.’” Harris shyly acknowledged, “This is
actually the first big musical role I have been in. I’ve been on a journey with this play for such a long time. I think what is pretty fun about the music is it hits almost every genre: folksiness, blues, protest music, gospel and there’s a techno beat number, plus a heartbreaking ballad. There is a taste of everything, Charlie Fink composed a gorgeous score.” Harris encourages everyone to grab
their kids and get out to the show. “The Children’s Theatre Company has an LGBT family event for every show, and that was the night I figured out the amazing power of the music. I was
petry, it is important to him that people recognize he can’t do it alone. There are two other puppeteers involved in making the Lorax move, Meghan Kreidler (feet/legs) and Rick Miller (arms/hands). “I just need to stress this, so people know that Lorax is made up of three people. We truly disappear and that is pretty profound and really moving and for us it is beautiful to watch the audience’s response. Together we are channeling the essence and spirit of the Lorax, working to change the world. Heck yeah! That is a great feeling.” Harris said the audition process was a little differ-
ent at Minneapolis’ Children’s Theatre Company, “There were conversations and chatting, talking, maybe you perform and maybe you don’t. They asked me to stop by and sing a song from the show and a week later they asked me to come back and work with the puppet. They brought out the script
looking out at the LGBTQ-identified families, all the rainbow of people there feeling welcomed and held. When I sang the opening number, “Everything you need is right here...” the song changed on me and I sang it differently for our gathered community. It shocked the puppeteers and fellow cast members and was one of those profound artistic experiences. Acknowledging our community, being all of who we are, our identities respected in one room, one space.” For aspiring writers, artists, and actors, Harris says,
“My biggest piece of advice to emerging artists is to keep thinking about art, keep trying and keep digging. You have to struggle and not worry about failure. Here is the beautiful thing, when you can say, ’I really failed,’ it reveals what you really want so you can go and get it! Don’t get lost in wondering if you deserve the time to work on a craft, or how good or bad you are...but on how badly do you want it. Just go for it.”
Dr. Seuss’sThe Lorax runs Monday, July 2 through Sunday, August 12 at The Old Globe Theatre in Balboa Park. For tickets and more information call 619.234.5623 or go to
oldglobe.org.
JULY 2018 | RAGE monthly 67
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