Joy is infectious in ‘Charlie Brown’

Mary Mallory

Director Todd Nielsen has inspired his entire cast and crew who

offer an enthusiastic, toe-tapping and gleeful experience with the

Colony Theatre Company’s “You’re a Good Man, Charlie Brown.”

Featuring renowned cartoonist Charles M. Schulz’s beloved

characters Charlie Brown, Sally, Lucy, Linus, Schroeder and Snoopy,

the musical charms and delights at the same time it illuminates the

human condition.

It’s made up of a series of vignettes centering on the anxieties

of life -- fitting in, finding your place and being accepted. It

presents a group of friends who accept each other as they are, even

as they struggle to like themselves.

This is the Los Angeles premiere of the revised Broadway

production of the musical, one which reinvigorates the play with

increased energy and updated touches. The music and dancing are now

more Bob Fosse and less Rodgers and Hammerstein. Little changes like

mentions of “Mission, Impossible,” cable and answering machines give

it a current spin. The acting, singing and characterizations are

truly excellent all around as everybody gets their moment to shine.

Ed F. Martin winningly captures Charlie Brown’s vulnerable, shy

insecurity with his hunched shoulders, expressive eyes and gentle

tenor voice. He suffers the most because he has the biggest heart.

As the super confident, playful Snoopy, Nick DeGruccio steals

scenes with a devilish twinkle in his eye, wickedly arched eyebrows

and exuberant body language. He lets loose with a jazzy rendition of

“Suppertime,” accompanied by the rest of the cast serving as an

enthusiastic gospel choir.

Rod Keller’s Linus is portrayed with sweet-natured innocence. He

smiles shyly, anxiously sucks his thumb and lovingly caresses his

blanket. In a solo spot, he gracefully transforms into Fred Astaire,

suavely dancing with his blanket during the number, “My Blanket and

Me.”

Roger Befeler plays the classical music pianist Schroeder with

requisite intensity. His passionate delivery of “Beethoven Day”

resonates throughout the theater.

Julie Dixon Jackson’s Lucy exudes a larger-than-life persona with

her big voice and arrogant attitude.

As the loud, determined, obstinate Sally, Beth Malone boldly

swaggers around with hands on hips, yelling out forceful opinions and

coldly manipulating everyone around her.

Director Nielsen’s enthusiasm even rubs off on his crew. Bradley

Kaye’s colorful pastel set pieces are like big Lincoln logs,

multi-functioning as desks, beds, TVs, the doctor’s office, etc.,

together or alone. Lisa D. Katz’ lighting design dramatically

emphasizes the danger of World War I air fights between Snoopy and

the Red Baron, and in contrast, warmly captures the glow of a sunny

summer day or the crispness of a fall afternoon.

Dramatic and precise sound by Drew Dalzell brings alive the

violent dogfight between the two aerial combatants, Schroeder’s piano

playing and the squawk of the school teacher.

Live music enhances the great fun of the evening, and it blends

beautifully with the production. Timing is right on between music,

cast and effects.

“You’re a Good Man, Charlie Brown” brings a smile to the face and

joy to the heart.