Creative, enthusiastic ‘Charlie Brown’

Tom Titus

Several eons ago, when I was starting out in the newspaper business

(delivering them, not writing for them), I noticed that the leading

color strip in the comics section had been replaced. Instead of the

grim crime-busting of “Dick Tracy,” we now had the light, whimsical

observations of childhood. It was the genesis of “Peanuts.”

Since then, of course, the late Charles Schulz’ pint-size

characters have expanded their appeal to animated TV movies, theme

park sections and innumerable toys and games. And in 1967, Clark

Gesner adapted Schulz’ works for an off-Broadway musical, which was

so successful it spawned a sequel.

At Vanguard University, graduate students Paul Hanegan and Tammy

Joelle Coffin have mounted a sprightly, creative and exceptionally

energetic version of Gesner’s musical, taking a few liberties along

the way. Hanegan also plays the title role while co-director Coffin

eschews the tomboy character of Peppermint Patty from the original

and inhabits the role of Charlie’s slightly ditzy sister Sally, a

character introduced in the sequel, “Snoopy,” but included in the

1999 Broadway revival.

The alterations work quite well, with Coffin also serving as

musical director for a three-piece ensemble that keeps a brisk pace

throughout. The student cast is quite appealing, with two particular

standouts in roles that demand over interpretation.

These would be Mary House as the domineering Lucy and Michael

Mulligan as Snoopy, Charlie Brown’s faithful beagle. House has worked

up her crabby character to a full head of steam, stopping just south

of the witch in “The Wizard of Oz.” in a superior performance. When

she performs her “queen” number, she’s appropriately clad in robe,

scepter and crown.

Mulligan is blessed with some of the best gimmicks in the show,

and the tall, lanky actor employs them skillfully. Snoopy’s song and

dance treatment of “Suppertime” generally is a show stopper, but it’s

even more so at Vanguard, where the rest of the cast provides

ensemble backup. Also impressive is his “Red Baron” number, in which

the doghouse becomes mobile.

Hanegan’s Charlie Brown is a doleful, downcast ringer for the

comic strip character who never pitches a winning game, gets a kite

to stay in the air or attracts his secret heartthrob, the little

red-haired girl, on the playground. His performance is a firm anchor

around which the showier characters revolve.

The blanket-clutching Linus, who spouts ancient philosophy well

over the heads of the others, is nicely played by Adam Eugene Hurst,

while A. Michael Genzink lends credence to the leader of the

neighborhood Beethoven Fan Club, Schroeder.

The petite, sparkling Coffin -- whose duties include co-director,

musical director and one of five separate choreographers -- is a

cutesy delight as Sally,, particularly when espousing her “new

philosophy,” which seems to be the flavor of the moment. Dynamite,

they say, comes in small packages, and Coffin’s performance

underscores that observation.

Backed by Amy Maier’s colorful set design and the musical ensemble

of Aaron Genzink, Chris Garcia and Zac Stred, “You’re a Good Man,

Charlie Brown” glitters with youthful enthusiasm. The show itself may

have whiskers, but Vanguard’s ebullient cast gives it a fresh,

delightfully funny feel.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.