The Imaginarium: A Thinker's Escape
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As a lover of characters and character design, I simply adore the characters of Seussical--Each has their own unique story and personality, and there is so much one can do with them, not only as actors, but as writers of their stories.

This topic is here to discuss the characters of Seussical--What we love about them, what we think about them, what our stories are about them. Perhaps even how we played them in our own productions!

11/8/2010 #1

Yay, you made it! *excited*

So, which character shall we (to use your term) flesh out first?

11/8/2010 #2

Well, let's see... My absolute favorite character in the show is Gertrude. Even though I didn't play her (or have any desire to), she's such a wonderful character with so much in her to play around with. She's such a troubled character with so many conflicts. We have this shy, dorky girl with a massive crush on an equally dorky guy who barely knows she exists--not that he isn't interested in her, he simply cares so much about this tiny planet he has to save that he doesn't give thought to anything else (including himself).

Then Gertrude has the problem of her self-esteem--she's not vain, she just doesn't have a lot of self confidence, and Mayzie's beautiful, luscious tail and mean taunts don't help. So she goes to Dr. Drake, thinking the pill he gives her will magically solve all her problems--she'll be pretty and she'll get the guy and live happily ever after. But the pill (or should I say pills) don't help at all--in fact, they make her situation worse. Yes, they give her a beautiful tail, and the Bird Girls quickly flee from a pregnant Mayzie to fawn over Gertrude, but it doesn't make her happy. And when she realizes she can't save Horton, she selflessly sacrifices everything to save him.

Yes, Gertrude is definitely my favorite character. Your thoughts?

11/9/2010 #3

Gertrude is my second favorite character, after the Cat. One of the main reasons for this is the contrast she gives to the Cat as a person-- whilst the Cat represents, to a simplified degree, discordance and unpredictability, Gertrude provides the most solid roots for dependability and loyalty in this play. One could argue that Horton is the character that does this, and while it is certainly true that he /does/ do this, I feel that Horton as a character is much less flexible, not as multidimensional as Gertrude. Not only this, but his character development within the play is minimal; meanwhile, Gertrude's is tremendous. She has the most character development of any other character in the play, shedding the shell of a timid, insecure loner to reveal the confident, outspoken advocator for her beliefs that lies within. For this reason, I feel we can relate to her a bit better than Horton.

Horton, throughout the play, is simply a warmhearted person. Gertrude experiences the trials and inner conflicts that we all do, and displays human flaws so blatantly that it is charming. The great irony here is that while in the confines of the Dr Seuss world Gertrude is ostracized for her imperfection and awkwardness, it is what makes her most believable and lovable to the audience.

12/17/2010 . Edited 12/17/2010 #4

Ahh yes, this is such a good summary of her character (probably did Gertrude much more justice than I did). I love the contrasting between her and the Cat--I never thought about it that way! It's true, Horton remains steady and mostly unchanged throughout the show, which gives the arguement that Gertrude and Jojo are the main characters, since they are the ones who go through the most changes (of course there is also the Sour Kangaroo, who goes through a complete 360 change, but I'll save that for later).

Gertrude is flawed, and imperfect, and what is amazing about this is that she stays imperfect. She doesn't end up with a giant tail, and she still has big feet and a pitiful squeak, but she's okay with that now, because she realizes vanity and perfection don't matter, because even when she is imperfect, Horton loves her. Because she sacrificed perfection for him. There is still a happily ever after even without the princess being the fairest of them all (Not to look down on any Fairytales).

And while we're on the subject of Gertrude, I find that often the way she is played can fall into two categories-- Sweet!Gertrude or Spaztic!Gertrude. I had a Sweet!Gertrude at my performance, but I much rather prefer Spaztic!Gertrude. What type was your Gertrude, and which do you prefer?

12/18/2010 . Edited 12/18/2010 #5


Sorry to bring this old topic back from the dead, *brushes away dust as best as I can* but this is actually a very interesting topic. There are so many different characters and, like Swirk said, each has the possibility for their own little backstory and personality. There are no dull characters in the world of Seuss.

My two favorites though, would have to be JoJo, and the Cat. What on earth was JoJo wandering around for? What was he looking for when he found the Hat? And the question that always trips me up when I try to write for him is how old is he?! I mean, after a certain age, your personality changes *cough*Thirteen*cough*. Although, he is a Thinker... does that mean he's more innocent and childlike? Or, why does he Think? To shut the world out, or to just get away, or out of boredom? And, if he created this world, can't he take characters out? Are there certain ways of doing things? Why couldn't he just Think away the Cat? I mean, the Cat is JoJo's Think... right? (please correct me if I'm wrong about this) If JoJo really wanted him gone, couldn't he have just thought him away? As a matter of fact, couldn't he just Thought himself out of these situations?

But that wouldn't be very fun... now would it?

But I basically see two ways to write JoJo. Naive and curious, or... whatever the other end of the spectrum is. I don't know. I always think there's a little spark of curiosity and imagination in him... but in some stories, he really does not want to be on this adventure in the start. That's the way SoftlySpokenHeart wrote him in both of her Seussical stories. Almost... regretful of having picked up that Hat.

On the other end of the spectrum, we have the Cat. Now the Cat, I can see as having a very good childhood, but with a lot of family problems. I actually have a theory that he had a pre-teen age similar to JoJo's story in Seussical. Parents just not understanding, being shipped to military school, eventually escaping and getting back to his parents... but not for a while anyway. Eventually leaving, nearly 20 (alright, so I'm extending the timeline a little) and trying to get back to that feeling he had when he was a kid, when there just wasn't a care in the world. He goes around for a while, feeling lost, but not losing hope. After an extremily bad night for him though, he gets some wise advice from an old man. "When the news is all bad, when you're sour and blue, when you start to get mad, just do what I do. Tell yourself how lucky you are." And... that's actually all I have. Going off the 1971 30 minute special "The Cat in the Hat", I'm thinking he went to Cat Tech, majoring in Thinking, minoring in Calculatus Eliminatus. I'm also thinking that since he's technically a "Cat in a Hat", that he was born with the Hat.

And I'm rambling again. Sorry. I tend to do that a lot when I have an idea. But, since I believe that the Cat DOES affect JoJo in some way, it would be rather interesting to have almost a parallel.

But that's just me and my silliness... What do you think?

5/28/2011 #6

Yes, Jojo and the Cat are two of my favorites!

I'll start with the relationship between the two, as it makes it easier to examine the characters since they're rarely without each other. First of all, as the 'emcee' and sort of narrator of the story, I think the Cat ultimately has the upperhand throughout the entire play. Whereas Jojo becomes part of the story itself, the Cat always remains distanced from the story. He pokes his head in to keep the plot moving at times, but he is never plays a major part in the story and the characters rarely acknowledge or question his existence. That being said, I think that the Cat has placed the hat in Jojo's path to ultimately teach him a lesson--to embrace his imagination and his individuality. I've stated before my idea of the Cat being a 'being' who is more of an embodying figure of imagination itself than an actual person. For Jojo, he takes the form of Cat, simply because that's how Jojo sees him. He's kind of like an imaginary friend, only he's not from Jojo's head and is from a higher power (or he just runs by his own rules).

I don't really think Jojo was looking for anything when he found that hat. It's been a while since I read the script, but I do believe--correct me if I'm wrong--that Jojo merely stumbles upon the hat as he's walking along.

Jojo Thinks because that's what children do. We are all born Thinkers, it's just a matter of whether we choose to use them or not. Now I like to think that Jojo was a particularly strong Thinker, which is how his Thinks were so powerful that they came into being merely by Thinking it, which also serves the purpose of the Cat giving him the hat. Speaking of the hat, I feel like it's a tool that helps with thinking--or rather, a symbol of Thinking, and that when the Cat gives it to Jojo at the end of the play, it's like passing the baton. It's a right of passage, like the Cat is saying, 'Okay, you've embraced your imagination, now go out and use it.'

I do think the play is one big Think (Jojo's Think), but that at the beginning of the play the Cat creates the foundation of the story ('Oh the Thinks You Can Think!'), and helping Jojo out less and less as Jojo embraces his imagination. For instance, when Jojo Thinks of Nool, it's because the Cat tells him to. In other words, the Cat sort of creates the stage that Jojo's Thinks will play on.

It's really up to the actor/director to decide whether or not Jojo really wants to be there or not. I think he is a little shocked at the beginning and is angry at the Cat for the situations he puts him through, but as the play goes on and Jojo realizes that he has control with his Thinks, he embraces the world more and more. Ultimately, it depends on the person playing/writing Jojo.

I'm interested to see what everyone else thinks about these characters. Thoughts?

5/30/2011 #7

GAAAAAAAAAAAAAAAH I'M AN IDIOT. *headdeskheaddeskheaddesk*

Really sorry, I've been super busy and also super lazy, lacking inspiration to return to the cobwebby tomb that is this thread . . . However, I thank you both for giving it a kick in the rump. 'Twas sorely needed. I'll do my best not to be so negligent again . . . though given how long it's been since I've even updated a story, you guys don't exactly have much credibility to attach to my words. . . *hangs head*

Anyway, enough of that. Waaay back to Swirk's original question about which Gertrude "type" I had in my performance, our actress did a combination of the two. Mostly Sweet!, but with a lot of little quirky nuances and with just a tinge of humorous psychosis [making her Horton crush(/obsession?) a TINY bit more hysterical than is borderline] that the actress pulled off quite well.

As for personal preference, I have to say that I like a different "type" altogether, which I think of as Closeted-Spunk!Gertrude. The idea that Gertrude is really very capable of retaliating to any disrespect thrown her way, that she is always, in fact, thinking up comebacks and making wry observations, but there's that very human—and I mean human loosely, for obvious reasons lol—insecurity about her appearance and being forthcoming and such that prevents her from following up on those capabilities. You see this side of Gertrude a little bit in the play when the Sour Kangaroo comes to arrest Horton and during the courtroom scene. The only way you can really see Closeted-Spunk!Gertrude is if the story is from her POV, and I've read stories like that. I, however, have a hard time writing her in that way. I usually stick to Mellow-With-A-Side-Of-Mischief!/Sweet!Gertrude.

Dx I just made that really complicated.

ANYHOW. Onto the debate that is actually relevant!

I think of Jojo being around 13 or 14, being mature for his age but also looking much younger than he is, perhaps 9 or 10. In other words: the epitome of awkwardness. It really symbolizes how isolated from everyone he is when you have it physically manifested that way—he looks like he's really naïve, when he's actually on the same level of processing information as young adults, all the while his actual age is trapped in the middle, a place where not many people take you seriously anyway. Due to his appearance and foreign way of looking at the world, people therefore take Jojo even less seriously. Therefore: angst. This angst is why I write Jojo as being perpetually exasperated with the Cat, and bemoaning the situations he's been put in.

I prefer to keep the time before the Cat showed up purposefully vague, mostly because I don't want to have to work out everything logically. I mean, if Jojo and Cat created all these characters and Jojo is now experiencing something utterly new, where did the previous relationship with his parents come from? How does he know how to function among other people? TIME PARADOXXX *combusts*

So. Here's the story to which I stick: Before the Cat, Jojo managed to contain his Thinks and not draw attention to himself. He was still considered a bit odd because he didn't follow the conventional behavior of children, but he still got by though it was painful for him to hold back. He was very, very smart, top of his class, always making wondrous new little contraptions for extra credit or whatnot. His parents were quite proud of him, but he was not proud of himself. At all. The Cat catches wind of this sorry predicament, jumps in to help by sending Jojo into some dream state and having him find the Hat. We all know what goes down after that. So, my reasoning for Jojo being somewhat resentful of the Cat is that before, though he didn't have the bliss of allowing his Thinks to manifest, at least he wasn't ostracized by society and beleaguered by wacky plot twists and the knowledge of other worlds. Plus, being sent to military school isn't exactly a joyride.

However, just because Jojo is annoyed out of his mind by the Cat doesn't mean he doesn't appreciate what he (the Cat) has done for him (Jojo). He is. And he legitimately, deeeeeep down, has affection and admiration for the Cat, who has good intentions behind all of his scheming and occasionally lets wisdom shine through the spastic persona he's built around himself. So they're friends; they just have this pretense of enmity (Jojo for being irritated, the Cat for seemingly being sadistic with his constant badgering of Jojo).

In other words, I basically agree with everything Swirk just said, besides the form of the Cat being a Cat because that's what Jojo sees him as (though that's interesting, and I like that idea very much). I just kinda think he's a cat . . . because . . . he is. Because he feels like it. Because Dr. Seuss, his creator, made him that way. Who knows? It works. But, putting aside all of that embodiment-of-imagination stuff, I like the more "human" backstory you've given the Cat, Cabot. It's really adorable, adding in the Caculatus Eliminatus thing from the old cartoon . . . I love that cartoon. :D

6/22/2011 #8

Hmm, that's an interesting perspective on Getrude's character. Personally I think the 'closeted spunk' you're talking about is part of the overall development of Gertrude's character. She starts out as shy, self-conscious, and envious of Mayzie's looks, and throughout the play she becomes confident and sure. She's no longer the shy wallflower--she's stepped up to the plate and is standing up for herself and for Horton. If think this is more of characacter development than the portrayal of the character.

As for Jojo, I definitely agree with you on the 13-14 age range. It's that awkward stage where Jojo is beginning to find himself, and he is unsure. However, he comes out at the end of the play as a confident Thinker and has embraced his imagination and individuality, as I said before. However, while I think angst is okay in the plot, I don't think it should be a big part in Jojo's storyline. Seussical is a fun, entertaining story and while it does speak a serious message, most of that comes from Horton and Gertrude's side of the story, not Jojo's. He's more of a supporting character than anything, and I think any angst can be kept to Alone in the Universe and Solla Sollew. His angst from military life and being misunderstood should be downplayed, as I think the 'angst' from Horton and Gertrude is more important. However, that's just my opinion.

I do wonder when considering Jojo's backstory, because the thing about his character is that the person himself is not really Jojo--if you remember he begins and ends the play as 'The Boy.' He merely plays the role of Jojo in the big Think. To me, the Boy is a representation of all of us, because at some point in our lives we go through this--we go into adolesence and adulthood, and we have the choice to use our Thinks or leave them behind. So, just like the Cat is a representation of imagination, the Boy is a representation of all of us as we decide whether or not to be a Thinker or not--so he really doesn't need a backstory. Again, that's just my opinion.

6/23/2011 #9

I suppose you're right about the closeted spunk thing; it is rather too much of a summary of her character arc to be a generally recognizable characteristic . . . I dunno. There are ways that an actress could make Gertrude's inner smart-aleck visible, little looks and side reactions or gestures or whatnot--but that's getting too technical and, like you've said, will vary from performer to performer.

The angst thing is just a personal preference. If I see a very dark, raw, and contemplative piece of work, I gravitate to parodies, humor, and fluff in its fanfiction. When I see something lighthearted and hilarious and the characters have wonderful connections, I like to see that contrasted by putting those characters into situations in which you would never normally imagine them. Or when there are tiny hints of sadness or deeper feeling, I like to see those moments "behind the scenes" in which the emotion and psychology behind them are blown up to unexpected proportions. This may seem a bit over the top for Seussical, based off of children's stories as it is, but I still find it an intriguing thing to do: Look at the story from a completely different perspective. Also, think about it: The basis for every conflict in the musical is very directly longing or loss. (Longing to me is basically loss, anyway. You want something that is lost to you-- i.e., you don't have it. And you ache to have it.) Loss, to me, makes up any kind of struggle of mind and/or soul that a person could have. Jojo is constantly dealing with loss. The loss of self confidence, security, trust and feeling part of a community; the loss of his parents and home when he goes to war; the loss of his friend, Horton, when the clover is . . . well, lost; the loss of himself in the limbo of sorts he is trapped in after the minefield; the possibility of loss of life and his world during the trial. Yep, loss, loss, loss. If that doesn't signify angst, I don't know what does. I love seeing the emotionally bared side of Jojo in the play-- particularly if the actor playing him is very good. (On a side note, I think that it is a necessity for the actors playing Jojo and the Cat to be the best in the play--the Cat not just because he has to carry the story and be funny and whatnot, but also so you can see the true caring nature behind his scheming, the wisdom about life he holds, and his fondness for every character, though especially Jojo. He shouldn't just be some one- dimensional goofball.)

Back to Jojo, and regarding your last observation: Wow. I never thought of that before . . . in fact, that's an excellent interpretation. The idea that not only the Cat is a symbol but also "Jojo", and that "Jojo" is simply an example of a scenario that the Boy could have been thrown into . . . that's amazing, and makes perfect sense! In fact, I like it much more than my idea. However, I feel that as soon as the Boy becomes Jojo, he really becomes Jojo; that perhaps the Boy and Jojo are two separate people-- though the Boy isn't really a person, just the spirit of a Thinker empowering the child Jojo. Now that I think of it, this character develops more of a distinct personality after we are introduced to the Jojo scenario.

6/23/2011 #10

I completely agree with you on the themes of loss and the exploration of the deeper meanings and themes in the story.

I do think that the Boy 'becomes' Jojo when he is thrust into the story, which is why I think there should be a distinction between the Boy and Jojo. The Boy is, in a way, the representation of the audience, while Jojo is actually a character in the story. The Boy is much like the Cat in that he makes commentary and helps move the story along--he's not really a participant in the story, he's just sort of Thinking it up and is guided along by the Cat.

I also agree that the Cat--and all the characters, for that matter--shouldn't be played as one-dimensional characters. While they are quite goofy, they still are very three-dimensional, well-rounded characters, and should be treated as such. Actors should explore the characters they play and view the story from their point of view, which helps them to develop their character.

Speaking of goofy-but-well-rounded characters, let's talk about Schmitz. I love this character so much, but he can sometimes be played as too goofy and one-dimensional. The important thing to remember about him is that he isn't a villain. While he certainly does some mean things, it's always for the best intentions and he truly believes he is doing the right thing. He also goes through some major character development in Act Two when Jojo is presumed dead and he realizes--maybe sending these kids off to war is wrong, and maybe this whole war is wrong. He changes his entire outlook--just from this one kid. I think this amazing character is way over-looked as a boisterous, bumbling general and while that is part of his character, it's not the only thing. I think he should be treated as a serious player in the story, just like characters such as Horton, Mayzie, and Jojo.

6/23/2011 #11

Heh, I'm a bit late to the party here... -_- Okay, I'm just going to toss my headcanons and things about everyone out into cyberspace, and if anyone comes along and reads them at one point, so be it. (Apologies if my 'reply' format is screwed up -- I don't use the forums on here a lot.)

Warning, this will be long.

Gertrude- I definitely subscribe to the Sweet! interpretation of Gertrude, though I think Spaztic!Gertrude is hilarious. I feel like actually 'fangirl' is a good term to describe her -- she has all this passion bottled up inside her, and she's just too shy and socially awkward to let it out. But once she gathers up her courage and starts getting to know people a little better, she's actually really strong-willed and won't let anything whatsoever stand in her way.

I think she also learns kindness and self-sacrifice from Horton throughout the play -- whereas at first her crush on Horton was completely self-centered (because, admit it, she's kind of wallowing in romantic self-pity a bit at the beginning of her character arc), after Horton lets himself be captured by hunters and taken to New York so that his egg won't freeze, she goes into superhero!Gertrude mode and makes an awful lot of sacrifices so that she can "save" Horton.

Oh, and she finds his clover too. It took her seven weeks, and that's an awful lot of effort to go to just to find something which may or may not exist. But she knows Horton cares about it, and she cares about him. The more he shows what a kind and generous person he is, the more she falls in love with him.

Horton- Actually I think Horton is a hard role to play. He's a weird role in that, despite being an elephant, he's actually the "little guy" of the story. I think he should be kind of adorkable and dreamy. In his Alone in the Universe interactions with Jojo, it's implied that he's a Thinker, but we never actually see him really using his imagination to create anything – he's just kind. SoftlySpokenHeart is right in that he's actually not that three-dimensional, or at least not that flawed.


It saddens me when people cast Mayzie as a one-sided total bitch. She's certainly self-centered, egoistic, and manipulative, but throughout the play, she actually does try to help people, believe it or not. If her only motivation was jealously guarding her tail and making sure nobody else had one like it, she would just have laughed at Gertrude without telling her about the Pillberry bush. I've read fanfics which posit the theory that she gave her egg to Horton because she could tell he would be a better parent than she would, and though I really don't buy that for the first time, I think that when she runs into him again at the circus, that is the conclusion she comes to. She has a bit of instantaneous character development when she realizes that Horton (in contrast to herself and everyone else in the Jungle) really is authentic and selfless, and she really doesn't have a right to take her egg back even if she wanted to. We as the audience aren't on her side for that moment, and neither is Horton, but in retrospect, she actually is consciously acting for the best when she refuses to take it back.

Sour Kangaroo- I actually think Sour is a great character. XD She's just a single mom and a control freak. She isn't really written very three-dimensionally, what with her 360-switch at the end, but at least up till then she and the Wickershams are consistent and uncomplicated.

Oh, and Young Kangaroo is the most adorable thing ever. Nobody should ever waste her role on a puppet.

Mr. and Mrs. Mayor-

Why do directors always cast these two so weakly? They might be supporting characters, but they are super-importantto the story. They actually have to carry the majority of the darker material of the play – "How To Raise A Child", the Christmas scene, the reunion scene after Havin' a Hunch...

The Cat- My favorite character (I suspect this is the case for a lot of people). I've seen both guys and girls do really well with the role, but I have a slightly female headcanon Cat, à la Cathy Rigby etc., so I'm going to refer to her as female and hope nobody minds.

I think the single biggest mistake that any director can make for this show is to cast the Cat just for comedy. The Cat is a trickster, not a clown, and more importantly, the Cat is Jojo's guide through the entire world of Seuss. She needs to have quite a bit of character depth. "How Lucky You Are" is not a philosophy that was learned the easy way -- the Cat does know that worst will eventually come to worst, and at one point in her life she made a conscious personality decision to just be optimistic about it. I have a headcanon that she's the anthropomorphic personification of imagination -- she's been around for quite a while, in various different forms, and the current one just happens to be a catlike human in a funny hat. She likes Jojo a lot, she really does – it can just be really hard to tell when her mischief-making is part of a much grander scheme which she has in mind and when it's simply mischief-making. It's almost always part of a grander scheme.

Jojo/the Boy- I see the Boy and Jojo not so much as separate characters with one playing the other, but as a character arc. The Boy, when he first runs across the Hat, might be just an ordinary boy, but he's definitely a bright, imaginative boy, if not the powerful Thinker which he becomes by the end of the play. When he's shoved into the role of Jojo, it's not a role which is foreign to him – his imagination has repeatedly gotten him in trouble in the real world too, and he really would like a good friend who has an imagination too. Throughout the play the Cat constantly reminds him at every opportunity to use his brain and his Thinks, and by the end of the play, the implications are basically that the Cat has taught him to Think, and now he can go wherever he likes in his mind with or without the Cat's guidance.

I have to disagree with Swirk about Jojo's angst. What I like least about Seussical Jr. is that, by cutting out the military subplot, it basically turns Jojo into a one-dimensional supporting character and makes Horton the lead, where Jojo is supposed to be the lead, and IMO one of the most interesting characters in the cast. I picture him around age 10 or 11, just barely prepubertal – beginning to have larger ideas about the world, but not quite involved yet with sexuality and middle school and all that. I feel like his personality would be really different if he was a teenager.

His relationship to the Cat is, I think, actually much easier to act than it is to define. The Cat constantly gets Jojo in trouble, but she's so charismatic and so fun that it's impossible for him ever to stay mad at her for long when she's around him. She's got a bit of a one-track mind around him: use your imagination, everything else (parents, school, overflowing tubs) doesn't matter. Jojo, who, being a kid, has to live in the real world as well as his head, sees the problem with this, however much he might not like to. But the Cat, as a representation as well as a personification of imagination, is always there distracting him whether he likes it or not.

TL;DR: Gertrude is shy but strong-willed. Horton is a very large "little guy". Mayzie is nicer than she cares to admit. Sour Kangaroo is an awesome jerk, Young Kangaroo is adorable. Mr. and Mrs. Mayor need to be cast strongly. The Cat is the anthropomorphic personification of imagination, Jojo is a lonely ten-or-eleven-year-old, and they're fonder of each other than either one will admit to the other.

I was going to go off on a ramble about Jojo and the Cat's relationship and the thematic significance of Havin' a Hunch, but this post is too long already, so I'll just leave it as it is...

5/21/2012 #12
1/3/2013 #13
Cute as a button22
Ok, i'm kinda late to the party here, but i'm actually in Seussical now and love it! I just want to say that I adore Gertrude, mostly because the person playing her is one of my BFFs and I love her song "Amazing Gertrude"! The first time I realized there was a Horton/ Gertrude subplot, I just about screamed with joy in the middle of rehersal!
4/17/2013 #14
Cute as a button22
Ok, i'm kinda late to the party here, but i'm actually in Seussical now and love it! I just want to say that I adore Gertrude, mostly because the person playing her is one of my BFFs and I love her song "Amazing Gertrude"! The first time I realized there was a Horton/ Gertrude subplot, I just about screamed with joy in the middle of rehersal!
4/17/2013 #15

New to this forum. Love this show. Have seen it twice and was recently in it as a Who. My story Views From A Dust Speck is my character's analysis of the show. My favorite character was Gertrude because I felt I could relate to her the most. I look forward to everyone's feedback on this story and other Seussical stories I have written.

Below is my chapter Exit Music from my story Views From A Dust Speck

Basic analysis of Gertrude.

If you really think long and hard about Horton Hears A Who it in very relevant to the current societal ways of bullying. As Demi observes through out the story the jungle creatures are not very understanding about the Whos and basically think Horton is insane without even knowing the whole story about Whoville. As the songs say the they think "he is talking to a speck of dust." Gertrude is the only person who truly believes in Horton and the fact that Whos exist. Another thing I noticed is that I can relate to Gertrude's character in a lot of ways. In high school I was often the odd one out in relationships. I was very much like Gertrude because she is shy around Horton and not sure how to express her feelings for him. Mayzie is a representation of all the popular girls in high school that I often envied... in this case it was more the case of Abercombie and Fitch clothes then long flowing colorful tails. I was also bullied in high school and often teased for being different because of my learning disabilities so I can relate to how Horton is hurt by being judged by the jungle creatures.

People may have different views of how they see this story unfold and this is mine. I hope that my analysis is relevant to the way society is today. While I'm not sure that is what Dr. Seuss was aiming for with the story Horton Hears A Who that's what I got out of this show. To me this is about accepting people's differences which is what the characters do by the end of the play.

I feel Mr. and Mrs. Mayor's characters could have been explored a lot deeper. I really liked their characters a lot. I think it would be nice to read a story on here which focuses on them more in depth and their relationship with Jojo before the events of Seussical take place.

7/7/2014 #16
The Princess Maker

I haven't seen Seussical, but I have read and seen pictures (from various productions). It does seem like they're certainly trying to keep everything in a real Dr. Seuss spirit! :D I have heard three songs from it so far, the one with Horton and Jojo meeting and the one where Horton is sentenced and the Whos are FINALLY heard.

Are you aware that the song for the cut Lorax section is up on Youtube? It has the guy who was (I think) supposed to play The Once-ler singing to an audience. :D

4/12 #17
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