A great production for good ol’ Charlie Brown
“Happiness” is one of the best-known songs from the musical “You’re a Good Man, Charlie Brown,” currently onstage at the Winter Park Playhouse. It details the little things in life that bring joy: pizza with sausage, climbing a tree, walking hand in hand.
Here’s a theater critic’s adaptation of the lyrics: Happiness is a perfectly cast show, happiness is scenic design that fits the play’s vibe, happiness is costuming that brings old friends to life.
You’ll find all that and more in the Playhouse’s production of “You’re a Good Man, Charlie Brown,” which was first staged in 1967. The show was reworked in the 1990s but the concept remains the same. There’s no plot, exactly, just vignettes highlighting the haplessness of Charlie Brown, the zaniness of Snoopy, the crabbiness of Lucy, etc. Think of it as comic strips on stage.
It should be noted that Charles M. Schulz’s kiddie creations are played by adults — but this talented bunch clearly hasn’t lost touch with the child within.
Shawn Kilgore is Charlie, and mixes the sad sack’s despair with a spark of optimism. It doesn’t take much for an audience to be on poor Charlie’s side, and when Kilgore’s face lights up, his joy is mirrored by the theatergoers.
Another Playhouse vet, Natalie Cordone, expertly makes Lucy crabby and loud without being shrill. She’s not afraid of physical comedy either, slithering comically over a toy piano to get closer to her beloved Schroeder. As the piano prodigy, Shonn McCloud has the sunny smile and level-headed nature that distinguishes him from the other Peanuts.
Brandon Roberts delivers Linus’s philosophical musings with flair, and just watch his face as he tries to leave behind his blanket. Molly Anne Ross is a petulant yet adorable Sally — just what you want. Her harangue about how she only earned a C on her coat-hanger art project is a doozy.
Last but not least, Playhouse newcomer Jeffrey Correia gives a razzledazzle turn as Snoopy. Faithful dog, World War I flying ace, song-and-dance man, Correia has the attitude for each shift in Snoopy’s persona. His singing voice is both smooth enough for his gentle first-act ditty and fiery enough for the rousing “Suppertime.”
William Elliott’s scenic design provides the requisite cartoon backdrop, and Dwayne Broadnax’s costumes nicely evoke the characters — from Charlie Brown’s trademark zig-zag shirt to Lucy’s little blue dress. Hidden from view, music director Christopher Leavy and his three supporting musicians make a bigger sound than expected, thanks to multiinstrumentalist Ned Wilkinson.
Having adults play the youngsters gives the show its bit of bite; director Roy Alan lets his cast provide just enough of the grownup angst. When Snoopy muses that there’s no chance of advancement in his life, it resonates with those feeling stuck in their careers. When Charlie Brown sighs that “Nothing echoes like an empty mailbox,” it hits home with anyone who has felt a moment of loneliness.
In a season of saccharine sentimentality, it’s refreshing to hear some hard truths — especially when they’re presented this artfully.