Seussical as presented by UL Musical Theatre Society

Society name: UL Musical Theatre Society

Show name:  Seussical

Adjudicator date of attendance: 28/03/2025

Brief Overview of Show and Evaluation of Front of House

UL Musical Theatre Society’s production of Seussical was a colourful, whimsical, and at times, profoundly moving exploration of the beloved world of Dr. Seuss. A challenging piece to mount for any society, Seussical presents unique demands in tone, staging, and energy, requiring a fusion of imagination, cohesion, and unrelenting momentum. This college production not only embraced these demands, but it also met many of them with real flair and intelligence.

From the outset, the audience was welcomed with a warm and friendly front-of-house team, who were well-prepared and efficient, contributing to an inviting pre-show atmosphere. The foyer space was well decorated to reflect the playful aesthetic of the show itself. There was clear attention to detail here, which helped set the tone before a single note was sung.

Director – Direction and Production

Sean McInerney’s directorial debut can only be described as a triumph. With Seussical being an episodic and often eccentric piece, strong narrative cohesion is essential, and Sean ensured a seamless storytelling arc from beginning to end. The energy of the production never flagged, and each scene transitioned smoothly into the next, a testament to not only clever blocking but also clear, confident vision.

There was a quirky intelligence at play throughout the direction. Little moments, such as the mannerisms of background characters or the imaginative staging of minor transitions, added charm and depth. Sean showed a real aptitude for character development, drawing nuanced and varied performances from his cast. There was also notable attention paid to pacing; the show had rhythm, dynamism, and breath, allowing both comedy and emotional beats to resonate effectively.

A particularly inspired choice was the interpretation of General Genghis-Khan Schmitz as German, adding both humour and distinctive characterisation that worked brilliantly in the context of the production. Similarly, the creative use of space was admirable. Working within the limitations of a college theatre environment, Sean’s direction maximised levels, angles, and movement to offer visual interest and variety.

If there is any constructive note to offer, it would be to further consider the integration between direction and choreography. While each department was clearly strong, there were moments where transitions into or out of choreographed sections could have been more organically embedded into the scenes. A deeper level of collaboration here could elevate future productions even further.

Musical Director – Direction and Orchestra

Coordinated by chorus master, Jared Nadin, the vocal delivery across the board was remarkably strong, particularly impressive given that Seussical is a sung-through show, and the demands of diction, harmony, and energy are relentless. The performers rose to the challenge commendably.

Choreographer – Choreography

Stephen O’Riain brought a light and quirky touch to the choreography, which suited the tone of the show well. The movement vocabulary was often playful and character-driven, an appropriate choice for Seussical, where dance serves more as a storytelling tool than a showcase of technical prowess. There were some inventive moments, like the charming hand gesture motif for the Whos, using circled fingers over the eyes to mimic eye-pieces. It was an effective piece of visual storytelling, though it would have been even stronger had it recurred as a unifying motif throughout the show.

While the choreography served the show’s energy well, there were moments where it could have been pushed further—both in complexity and in how it interacted with the stage space. The available levels and platforms provided ample opportunity for vertical layering and dynamic tableaux, which were occasionally underused. Additionally, the choreographic transitions occasionally lacked fluidity, suggesting that a tighter dialogue between direction and choreography would have strengthened these moments. With that said, the ensemble remained committed, and the routines were performed with enthusiasm and characterisation.

Leading Principles – Singing and Acting

Horton the Elephant – Daniel Tuohy: Daniel delivered a performance full of warmth and quiet strength. Horton is a character of empathy and patience, and Daniel embodied these qualities with understated grace. His vocal delivery was gentle and lyrical, never forced or overdone, perfectly suited to Horton’s introspective nature. The characterisation was consistent and emotionally honest, making the audience root for him from the start.

JoJo – Caitlin Griffin: Caitlin’s portrayal of JoJo was full of youthful wonder and imaginative energy. The physicality of the character was especially strong, she captured the small, curious child with authenticity and never once broke the illusion. Vocally, she was confident, expressive, and clear, effortlessly navigating the score’s rhythmic challenges. Her chemistry with Horton was especially touching, grounding the story’s more whimsical elements in emotional truth.

Cat in the Hat – Ethan Doyle: Ethan’s take on the Cat was bold, camp, and unapologetically exuberant. While the performance undoubtedly delighted the audience and kept energy levels high, the portrayal leaned heavily into flamboyance. This interpretation risks reducing the Cat’s quirky mischief into a stereotype, and the performance edged close to caricature at times. Nevertheless, Ethan brought significant charisma to the role, with sharp comedic timing and strong vocals. His role as narrator and “cat”alyst was well executed, and he maintained control of the stage whenever he appeared.

Gertrude McFuzz – Sally Fox: A true standout. Sally took Gertrude on a full emotional journey, and the audience followed every step with investment and joy. She beautifully portrayed the awkward self-doubt of Gertrude’s early scenes and built toward the confident, courageous figure the character becomes. Her vocals were crystalline, technically secure across all registers and emotionally resonant. Each time she stepped on stage, she brought vitality and sincerity, marking her as a performer of real presence and promise.

Mayzie LaBird – Julita Fox: A dynamic and scene-stealing performance. Julita brought sass, wit, and confidence to Mayzie, presenting her as a figure of glamorous self-importance with just enough vulnerability to keep her human. Her physicality was particularly strong; she moved with total awareness of how to inhabit the stage and draw the eye. Her vocal performance was equally powerful—clear, strong, and expressive.

Mr. Mayor – Jared Nadin: Jared struck the right note of puffed-up parental pride and confused moral compass. His portrayal captured the performative concern of a parent who wants his child to behave more than be understood. His mellow vocal tone added warmth to the role, even as he maintained the character’s comic blindness.

Mrs. Mayor – Hannah Gilligan: A bold and amusing choice to portray Mrs. Mayor as a slightly inebriated, disengaged trophy wife. This added an unexpected layer of comedy and critique to the parents’ dynamic. Hannah maintained her characterisation consistently and complemented Jared’s performance well. Her aloof detachment was played for laughs but never descended into pantomime, a tricky balance she handled deftly.

Supporting Roles – Singing and Acting

Sour Kangaroo – Silver Chukwuemeka: Silver showcased an outstanding voice, rich, dynamic, and incredibly powerful. Her opening vocals immediately grabbed the audience’s attention, and her stage presence was commanding. Her characterisation as the sour, overbearing matriarch was strong until a noticeable slip on stage appeared to shake her confidence. While the moment passed quickly, it was disappointing to see her retreat into herself rather than recover fully in character. A reminder that professionalism lies not in perfection but in resilience. Aside from this minor lapse, her performance was vocally exceptional.

General Genghis-Khan Schmitz – Cian Ryan: Cian brought both comedic flair and military gravitas to his role. The decision to play the character with a Germanic stiffness was an inspired one, and he followed it through with vocal and physical consistency. He handled his song with confidence and stayed committed to his troops (and the accent) throughout.

Young Kangaroo – Aoife Murray: Aoife played an excellent foil to Sour Kangaroo, mirroring her petulance and sass with youthful precision. Her delivery was sharp, her timing spot-on, and she clearly enjoyed the character’s bratty boldness.

Wickersham Brothers – EvaRose Kiely, Josh Lyons O’Neill, Declan Ross: This trio had a strong ensemble rapport and good musical blend. They captured the menace and swagger of the Wickersham’s, although their physicality could have leaned further into primate territory. Even more crouched stances or monkey-like movement could have enhanced their animalistic presence. Still, their vocal work was strong, and they committed well to their roles.

Bird Girls – Aibhe Tierney, Nicole Buckley, Emma Wright: 

The Bird Girls were generally well-matched vocally and added much visual and musical colour to the production. However, performance energy varied across the trio. While Nicole and Emma offered bright expressions and confident movement, Aibhe appeared slightly less assured in her choreography and energy. With more confidence and polish, she could easily rise to match her peers.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble was one of the production’s greatest assets. Their commitment to characterisation was exceptional, each performer brought individuality to their role, while still working cohesively as a group. Whether playing jungle animals, citizens of Whoville, or background elements, they contributed texture and depth to every scene.

Vocally, the ensemble was very strong. Harmonies were clear, well-blended, and confidently delivered. Movement-wise, they showed strong potential, although there was a sense that they could have been challenged further. Their ability is clearly there—it just needed choreography that would fully test and utilise it.

Stage Management & Set Design

The set design was clever, colourful, and effective. The rainbow covers over the scaffolding structures were a playful way to transform practical staging into something aesthetically vibrant. The central platforms gave the show strong verticality, allowing for varied scene compositions. The smaller scenic pieces were decorated and painted with care and flair, helping transport the audience into the quirky world of Seuss.

Stage management was generally solid, although there were a couple of moments where the presence of the stage manager was visible. These instances, while minor, can break the audience’s immersion. In a production like Seussical, where the world is so stylised, set transitions can often be delegated to in-character ensemble members, keeping the illusion intact.

Technical – Light and Sound

Lighting was well-designed and sensitively executed. The rig was used to good effect, offering colourful worlds that matched the show’s shifting tones. Each distinct setting had its own visual identity, thanks to smart lighting choices. A small note: the top platform lighting (specials) occasionally missed its mark, leaving some performers in partial shadow. This can be easily addressed with clearer spike marks or blocking adjustments.

Sound was a real highlight. The balance between vocals and orchestra was spot-on, a particularly difficult feat in a sung-through score. Microphones were well-managed, and there were no missed cues. Clarity of diction and harmony was maintained throughout, indicating both strong technical support and cast discipline.

Visual – Costumes, Hair and Make Up

The visual elements of this production were bursting with creativity. Costumes were clever and cohesive, rather than literal animal costumes, each look offered a stylised, character-based interpretation. The yellow palette for the Whos was effective in visually unifying them, and the detail of broken umbrellas after the fall was a delightful touch of storytelling-through-prop.

Makeup was expressive and imaginative, enhancing the Seussian world without becoming too heavy-handed. Hair choices were similarly smart, quirky, controlled, and always off the face, ensuring that performers’ expressions and vocals remained clear.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

UL Musical Theatre Society’s Seussical was a bold, joyful, and imaginative production that celebrated the eccentricity of Dr. Seuss’s world while grounding it in human emotion. Strong performances from the principals, inventive direction, and a committed ensemble made this a truly enjoyable evening of theatre.

To build on this success, future productions might look to deepen the integration between departments—especially between choreography and direction—and push ensemble movement further. Ensuring cast members maintain professionalism even in the face of small slips will also raise the level.

Ultimately, this production was a testament to the potential of student theatre when driven by vision, heart, and talent. It was a thoroughly enjoyable and uplifting night, and the entire company should be very proud of their achievement.

Photos by Desirée McMahon