You’re A Good Man, Charlie Brown

On the hottest day we’ve had this year, and in the midst of a truly formidable thunder storm, the cast and crew of You’re a Good Man Charlie Brown adhered to the old adage “The Show must go on” and gave a delightful performance to those of us who braved the elements.

Charlie Brown’s persona would now be 70 years old, since he was 5 when the strip started. It was a gentler world in 1950, and CB’s inferiority complex was understandable in a world still reeling from a world war and uncertain of the future. Now, Schulz’s naivete and innocence seem truly out of step with our techno globe. If you don’t already know and love Peanuts, then it might be difficult to explain the attraction of Schulz the optimist, the philosopher. If you already know the comic strip, then you don’t need an explanation. It’s fair to say though that Peanuts feels dated and its jokes are not the humour we laugh at in the 21^st century, the music score and songs are, at best, serviceable.

But the production itself is quite delightful. With a uniformly strong cast, it’s only fair to mention all. Ryan Purdy is an absolute delight as Charlie….despite being very tall he convincingly conveys the insecurities of Charlie and he has a great voice. In fact the entire cast is vocally very strong and the harmonies are excellent throughout. Everybody’s favourite comic strip dog Snoopy (I had a Snoopy as a child, so did my kids …and even my husband) is wonderfully brought to life by the gangly Luke Oldmeadow, who finds joy in every move and credibly convinces us he is truly canine. His comic timing is impeccable, and he is endearing throughout. I wonder if he knows that this is the role which first brought Geoffrey Rush to prominence in Qld? Emily Hall is suitably brittle as Lucy and especially shines in her scenes with Schroeder, beautifully realised by Leighton Irwin. Nicholas Barca’s offbeat persona is simply perfect for Linus and Emma Harris is beautifully cast as Charlie Brown’s little sister Sally. Musical Director Ben Franklin on a day fraught with lightning…that’s irony) skilfully guided the band through the score. White’s direction is crisp and precise and Ben Stokes’ lighting adds a joyous colour palette to the otherwise black and white elements.

With the large open stage – back projection and minimal set (eg – The Bus; Snoopy’s Doghouse) some elements work better than others….the scenes with movement/travelling work especially well – more static elements (eg inside the house) don’t work as well. And the stage is far larger than that of the Banyule, where I have seen other ARC productions. I’m wondering if a more intimate stage setting may have worked better for this gentle offering.

This will delight young kids and parents and grandparents, but it may all seem a bit “twee” for the NOW generation. But, as always, ARC gives great commitment to every element of the production.

Coral Drouyn

Photographer: Jaclyn DeVincentis