In 1992, Fink left Disney to join the digital media company Virtual World Entertainment, a software developer and location-based Entertainment Company owned by Tim Disney. In his years with Disney, Fink developed The Lion King (1994), which was based on his idea, "Bambi in Africa". In 1987, Fink started his career in the Animation Division of Walt Disney Pictures, where he rose to the position of vice-president. Career įink earned his BA Degree from Sarah Lawrence College and a Master of Fine Arts Degree from the Art Institute of Chicago.
He is also the author of two AR-enabled books. In 1992, Fink was chief operating officer of the digital media company Virtual World Entertainment in Walnut Creek. He is credited for pitching the story "Bambi in Africa" which later became The Lion King (1994). He was vice president for creative affairs at Disney for six years. Those three get the final bow in “The Lorax” and it is richly deserved.Charlie Fink is a former Disney executive. Kreidler supplies lovely grace notes such as a moment when the Lorax, saying goodbye to a friend, tenderly ruffs his hair, and Miller, bent in half as he bends to operate the feet, conveys a lot without speaking a word or showing his face. It’s Harris we look to for Lorax’s expressions, since the puppet’s face never changes, and Harris takes the character from angry to bewildered to heartbroken. There’s a lot of fine acting in “The Lorax,” a show you emphatically do not need to be a kid to love, but attention must be paid to the title creature. Once-ler gains the confidence and bravado of a hair-band frontman, then slides into James Bond villain territory in his middle years before gaining late-in-life redemption in a touching finale that out-Seusses Seuss. Epp brings a wistful, dreamy quality to the young Once-ler, who is beaten but continues to move forward. Epp’s Once-ler is both Seussian and Shakespearean, going on a character journey that rivals - and I’m not kidding - King Lear.
The production has moved to CTC with a new cast, and it’s difficult to imagine a better one. “The Lorax” was originally staged at London’s Old Vic. Inventive puppetry (swans fly out over the audience and fish leap from a pond to sing), catchy songs in a variety of idioms (it takes nerve to do a “Times They Are a-Changin’ ” pastiche in Bob Dylan’s native land, but composer Charlie Fink aces it), impressive sets in a batch of Starburst colors and Max Webster’s wickedly clever direction all help make the case for environmental responsibility. “I speak for the trees!” the Lorax famously shouts, but he gets a lot of help in that area. Adam Harris (head, the other arm and Lorax’s soulful voice). Standing in his way is the principled Lorax, a puppet who resembles a basketball with a mustache and who is hypnotically operated by Rick Miller (feet), Meghan Kreidler (torso and one arm) and H. Seuss.Ī new back story opens the show: Teenaged Once-ler (Steven Epp) is being 86’ed by his nasty family, thus establishing that, as Stephen Sondheim put it in another musical, he’s “depraved on account of he’s deprived.” With a pair of knitting needles and the fluff of a Truffula tree, Once-ler crafts a thneed, a useless item that becomes hugely popular and turns Once-ler into a vile, resource-depleting tycoon. So it feels miraculous that “Lorax” is not only terrific but that 90 percent of it was invented by playwright David Greig, yet it all feels like it could have sprung straight from the curlicued pen of the man who called himself Dr. The category of page-to-stage adaptations is littered with lifeless corpses of books that were too internal to function theatrically and playwrights who missed the point of the books they were supposed to adapt. Seuss’s The Lorax” at Children’s Theatre Company. An almost ridiculously good year for Twin Cities theater gets ridiculously gooder with the arrival of “Dr.
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