Rosie also balanced a chair on her chin. She was most proud of that. ::rolls eyes:: (But I still love ya, Ro!)
SEUSSICAL is one of my all time favorite shows. I have seen some of its development (but was never involved with it), the pre-Broadway tryout in Boston, Broadway with Shiner, Rosie, Carter, and Rigby, the first national tour with Rigby, and the non-Equity tour with Peter Roman.
SEUSSICAL can be staged many different ways. I think the first national tour got it best - it was darker and spookier. The Cat (Cathy Rigby) evolved into more of a darker michevious Cat, but only slightly.
SEUSSICAL was always in development, from creaation to Broadway and after. I think it should have done three pre-Broadway tryouts to REALLY fix up the show before Broadway. It could have been much more well received and possibly have had a longer run.
If developed further - I think the show would have been just PERFECT. They were JUST starting to go with the pitch of having the Cat take Jojo out of the human world and throw him into the world of Seuss. Therefore - Jojo had a goal. To get home. And the Cat had a goal: to get Jojo to learn that thinking is OK, then send him home.
So that is one half of the plot. In Seuss world, the main plot is Horton. He is the only one who knows of the Whos and can save them, but then he is tricked to sit on an Egg. I wouldn't change any of his story.
"The Lorax" was recorded from its workshop and DOES exist on audio - but was not professionally released. I *think* if you visit the Ahrens & Flaherty website, they offer the song for listening.
"A Day For The Cat In The Hat" was also cut from Broadway before going on tour. I think this was a wise choice, even though it was Cathy Rigby's favorite number (it was she number to show off gymnastics). It allowed for the Cat to be less 'fun' and more 'dark & mischevious.'
A&E was supposed to record the 1st Nat'l Tour for broadcast and a DVD release, however that fell through.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle