The Carnegie in Covington, with its sweeping, historic proscenium, has long been a venue where musical magic comes to life. From classic hits like Beautiful: The Carole King Musical, Hello, Dolly! and The Rocky Horror Picture Show, the theater has earned a reputation as a destination for both timeless musicals and high-energy jukebox productions. These shows often brought together a dynamic mix of local stars, theater students and talented dancers. However, it wasn’t until the past year that The Carnegie forged a formal partnership with the University of Cincinnati’s College-Conservatory of Music (CCM). With a shared commitment to providing students with valuable, real-world experience while nurturing emerging talent, the two organizations are continuing their inaugural season of collaboration with Seussical, a whimsical exploration of Dr. Seuss’ beloved worlds.
Seussical, which premiered in 2000, follows Horton the Elephant’s journey to save the tiny Whos living on a speck of dust, and navigates the wide range of Seuss characters living in the Jungle of Nool, from the Sour Kangaroo to the hopeless romantic Gertrude McFuzz. Featuring music by Tony-winning CCM graduate Stephen Flaherty, the production will showcase a cast of 12 student performers, bringing the boundless power of imagination to life, alongside student technicians. The creative team features a blend of CCM faculty — Rachel Stevens as director and Julie Spangler as music director — and several members of The Carnegie’s design team, including Artistic Director Tyler Gabbard, who also serves as the scenic designer and producer.
This marks the second collaboration between The Carnegie and CCM, following the November production of Witch. But, as Gabbard points out, the relationship between the two has been evolving for years.
“Back a little over 10 years ago now, when Josh Steele was the managing director, he did some co-productions with CCM. But it really started when we launched our first summer season in 2022 and saw a ton of auditions from CCM students,” Gabbard said, reflecting on his third year at The Carnegie. “We had this opportunity to cast them, and they were great and professional and, of course, really raised the caliber.”
The Carnegie has long been rooted in arts education. Founded in the 1970s by a community-driven effort to preserve the historic building, The Carnegie has grown into a cultural hub, offering everything from visual art to theater and dance. Through continued collaboration with CCM faculty and connections with former Carnegie performers now at CCM, the partnership has created a vital bridge between academic training and professional practice, providing a launchpad for the next generation of artists.
With Seussical, this collaboration comes alive in a world brimming with creativity and imagination. While many productions of the beloved musical embrace bold neon hues and extravagant sets, Gabbard’s scenic design takes a fresh approach, inspired by Dr. Seuss’ economic use of line and color.
“We wanted to allow the audience to be part of the creative process, and so we’re setting ourselves in kind of this empty theater, with the ghost of the theater coming to life and telling the story,” Gabbard explained. “(The Carnegie) was never a Vaudeville house, but it was built in that era. So, we’re leaning into that time period and keeping things feeling a little turn-of-the-century in the 1910s, ‘20s and ‘30s.”
The production’s unique design and cross-generational appeal ensures its magic reaches patrons of all ages. While The Carnegie has long produced family-friendly musicals, Seussical feels uniquely poised to captivate both children and adults. The central character, JoJo, an imaginative Who child, drives the narrative forward with boundless creativity, while the notorious Cat in the Hat serves as a witty, jazzy emcee.
“I wanted something that really was a true family show, one that kids could come out in droves to. And we’ve really built a great cross-generational audience at The Carnegie in the last couple of years,” Gabbard said. “It was a perfect show for that reason — super family-friendly. I also love the show.”
But the production also delves into deeper themes, namely, access to creativity and the transformative power of the arts — core values of The Carnegie’s mission, according to Gabbard.
“Our education program is not only interested in training the next great theater artist. It’s interested in teaching all kids, all people, how to use the arts in their daily lives to be empathetic, understand differences, make creative choices and solve problems,” he said. “So, we’re telling a story about access to the arts for this kid in Seussical, but it really mirrors how we try to use education as an organization.”
As the theater continues to grow its audience, Gabbard is committed to creating a welcoming space for everyone, ensuring that The Carnegie is a place where people feel comfortable coming as they are. To make this experience accessible, Gabbard has implemented affordable pricing options, including discounted youth and student tickets and limited-view seats.
“I want people to come here and feel like they can wear jeans or a t-shirt or dress up, you know, and come as you are,” he said. “I don’t want any pretense or stuffiness around my work or around the experience here. We really try to make it a great place to come for your first show, if you’ve never been to the theater before.”
As Seussical takes the stage, it represents more than just a vibrant celebration of Dr. Seuss’ cherished characters: It’s a testament to the power of collaboration and the limitless creativity nurtured through partnerships like that of The Carnegie and CCM. By bridging the gap between professional opportunities and educational growth, the two organizations are helping young artists thrive while delivering unforgettable experiences to audiences of all ages. And, as Dr. Seuss himself might say, the more you’re willing to imagine, the more you’ll find to explore.
Seussical runs through Feb. 16 at The Carnegie in Covington. More info: thecarnegie.com.
This story is featured in CityBeat’s Feb. 5 print edition.
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This article appears in Feb 5-18, 2025.