Woof! This actor went from playing a pooch in ‘Grinch’ to being the top dog.

The Grinch now has his own walkup music.

That’s one of the tweaks audiences may notice in the 12th staging of “Dr. Seuss’ How the Grinch Stole Christmas,” which is now up in previews at the Children’s Theatre Company.

Actually, the Grinch’s musical accompaniment, which puts him in a league with professional sports players, is something of a throwback. The ol’ green meanie had a theme song 30 years ago when the show premiered.

“The house would go dark and then we would hear this big swell from the orchestra — bum-bum-bum-bum-bum-bum-bum,” said actor Dean Holt, who was in the premiere and has been in most of the productions since. “But our youngest audience members would get scared and start crying, so eventually that got taken away.”

Holt, who has played a Who in Whoville, Young Max, Old Max and the Grinch himself, is bringing that music back as part of his vision for the show. The actor has turned director and is now helming the revival of a work that has become a holiday staple.

“It’s the same set and costumes from 30 years ago, so people who come to this for their tradition will still have the essential experience,” Holt said, reassuring that he’s honoring the tradition. “It’s just that the beat of the show will be a little different.”

You could say that Holt has been preparing for this his whole life. He joined CTC as a company member fresh out of college 31 years ago, playing an anonymous Who that he nicknamed at the time Who-dini. His character was a merchant in town during the Grinch’s visit.

In subsequent productions, Holt would go on to play Young Max, the Grinch’s much abused doggy companion. Eventually, as he aged, he took on the role of Old Max, the narrator who takes us through the story of how the Grinch sought to steal people’s joy at the holidays before becoming a part of a community through the love of one Cindy-Lou Who.

It was in the company’s third production that he got to play the title character. Holt was playing Old Max but also understudying the Grinch when the father of David Cabot, who was playing the title character, died. Holt spelled Cabot for a week.

“That was sad for David, but the funny thing was the kid who was my understudy for Young Max was about 6-3 or 6-4 and I was this short little Joe Pesci of a Grinch,” Holt said.

While he’s directing “Grinch,” succeeding artistic director Peter Brosius, Holt also is returning to his role as Old Max. Theater professionals act and direct themselves in shows all the time. But how does that work on a practical level, especially since actors cannot see themselves onstage?

To remedy his acting blindsides, Holt has three ways of checking how he is doing. He gets feedback from his wife, Stacy McIntosh, who is the show’s assistant director. Holt also paints his ideas for his character onto his understudy, Neal Beckman. And finally, Holt watches himself on taped recordings of his rehearsals.

It’s a unique position for Holt to rise within a company and get the opportunity to build out his vision for the show. But the best part of the journey, he insists, is getting to continue to play with the company members. Reed Sigmund, who is returning for his seventh turn as the Grinch, is Holt’s bosom buddy.

“While Peter and Dean share an appreciation and understanding of comedy, especially physical comedy, they have different lenses for storytelling,” Sigmund said. “Peter and I tried every year to look at the role through the world today, something Dean has continued. Certain elements of the story will give audiences a new experience but it will not feel foreign to those who want the comfort, familiarity and favorite moments.”

Even as the show is getting ready to open, Holt has encouraged the acting ensemble to bring their ideas forward. There are new colors to be found in all their characters, he has insisted.

“If we just get up there and remount something we’ve done already, it’s not always going to be what you hope it will be,” Holt said.

He’s leaning not only on the actors for their input, but on the original Seuss cartoon. Holt holds no grudge against the famous animated film versions of the story starring Jim Carrey and Benedict Cumberbatch. He just finds the earlier version inspiring.

“I like it for its simplicity,” he said. “It’s a lot of movement-based storytelling about this one outsider who gets to be included. If you allow yourself to follow along and feel, the change can happen.”

Looking back to that original production, Holt marvels at being in the room with the creators of the show — composer Mel Marvin and book-writer and lyricist Timothy Mason. Audrey Geisel, the widow of Theodor Geisel, Dr. Seuss, would also drop by the theater to check them out.

“We’re caring for quite a legacy,” he said wistfully. “And as much fun as it may be for audiences, it’s also fun for us to get to renew and revive something that’s ultimately about being fully alive.”

Where: Children’s Theatre Company, 2400 3rd Av. S., Mpls.

When: 7 p.m. Tue.-Sat., 2 & 5 p.m. Sun. Ends Jan. 5, 2025.

Tickets: $15-$93. 612-874-0400 or childrenstheatre.org.