Xochitl Gomez On Finding Her Voice In ‘The Cat In The Hat’ And Why Starting Over Is Never Easy

For Xochitl Gomez, stepping into the world of The Cat in the Hat was something of a full-circle moment. Having grown up watching Dr. Seuss adaptations such as The Grinch and The Lorax, the actor was already familiar with the whimsical universe long before she became part of it. In fact, she recalls watching the films on repeat whenever she fell sick as a child, alongside Mamma Mia! It was a small ritual involving her mother, DVDs and a familiar rotation of films that helped shape her childhood.

The 2026 animated adaptation marks a new milestone for Gomez, too: her first voice-acting role. But getting there was a rather long journey. She first auditioned with a scratch recording in January 2023, only to find herself waiting through the writers’ strike and a series of changes before hearing anything definitive about the project. When she was eventually called back, she discovered that Erica and Alessandro had come on board as the new writers and directors. They asked her to record the film from beginning to end once again. Gomez was more than happy to give it another shot. A couple of days later, she finally got the call. “They were like, ‘We love your voice and we’d love for you to be a part of it.’ And I was just like, ‘Oh my God, this is an amazing opportunity,'” she recalls. For her first voiceover experience, being part of a story that already held such a special place in people’s childhoods made the opportunity all the more meaningful.

Gomez voices Gabby, an older sister navigating a difficult transition after moving away from her friends and familiar surroundings. When the mischievous Cat in the Hat enters her life, he takes Gabby and her younger brother Sebastian on an adventure through fantastical worlds. Beneath the film’s colourful chaos, however, is a story about growing up, processing difficult emotions and learning to embrace change. It is also where Gomez found a particularly personal connection with her character.

Growing up, she moved schools frequently, which meant repeatedly leaving friends behind and having to start over. “Something that I really relate to with Gabby is just the trauma of having to move to a new school and leaving her friends behind and having to kind of start over again,” she says. Having experienced that uncertainty herself, Gomez understands why Gabby struggles to adjust. She is quick to point out that a child’s sadness during such transitions is often underestimated by adults. “Gabby’s sadness is justified. It’s something that kids go through, and sometimes the parents don’t really understand how hard that might be.”

There is another aspect of the film that she appreciates: the way it encourages children to reconsider their relationships with their parents. Gomez believes that growing up can sometimes make children forget to appreciate the people looking out for them, and she likes that the story gently shifts into that perspective. It is a reminder that growing up isn’t just about navigating your own emotions, but also learning to understand the people around you.

That emotional connection extends to Gabby’s relationship with her younger brother, Sebastian. While Gomez is comfortable exploring sentimental moments on camera, translating those feelings through voice alone was an entirely different challenge. “I think one of my strongest suits is the emotional, sentimental stuff. I’m really good at that on camera, but on just my voice, I wasn’t sure if I could convey that,” she admits. Much of the process came down to the support of directors Erica and Alessandro, who would perform alongside her during recording sessions, matching her energy and emotions. If she was screaming, they were screaming; if she was being sentimental, they were right there with her. It helped her find the emotional register she needed without having the benefit of facial expressions or physical performance.

Watching the finished film recently gave her a fresh appreciation for what the team had created. Gomez was particularly taken by its visual language, which uses three distinct animation styles to differentiate its characters and worlds. “I was blown away,” she says, describing it as a visual journey that opens your eyes to new things.

One of her favourite details, though, is a little device the Cat carries around to detect a child’s emotional state. The device responds to Gabby’s moods, including an amusing moment when her anger is reflected right back at her. Gomez finds the idea hilarious, but also admits she’d quite like one in real life. “People are so good at faking their emotions nowadays, which I am not,” she laughs. The prospect of being able to tell how someone is actually feeling, rather than having to decipher their reactions, sounds particularly appealing to her.

Our conversation also turns to Bill Hader, who voices the titular Cat. Having grown up watching his work, from his animated performances to Barry and Saturday Night Live, Gomez was understandably starstruck. She recalls getting to attend a few recording sessions with him and being struck by how effortlessly he experimented with different voices. His impressions, in particular, left her amazed. More than anything, it was his flexibility and range that stayed with her. “I was like, ‘Wow, I want to get to that level.’ I don’t know how, but I want to get there,” she says.

Before we wrap up our Zoom conversation, I ask Gomez if there is another character from the Dr. Seuss universe she’d like to lend her voice to. Her choice is Waffles, a character she feels still has plenty of unexplored territory, particularly when it comes to his banter with the Cat. And when it comes to describing The Cat in the Hat in three words, she doesn’t overthink it: “Charming, a lot of heart and joy. Lots of joy.”

Also, read: 

‘Clayface’ Review: Tom Rhys Harries Loses His Face, And The Real Horror Is How Far He Goes To Get It Back