Riverwalk’s ‘Charlie Brown’ takes comic to new dimensions

Any analysis of “You’re A Good Man, Charlie Brown” might end up sounding like the
“whaa, whaa, whaaas” spoken by adults in the “Peanuts” TV cartoon.  As I type this review, I can’t get that distinctive horn blare out of my head.

Riverwalk Theatre’s “Your A Good Man, Charlie Brown” musical includes authentic horn sounds and many familiar aspects from Charles M. Schulz’s “Peanuts” comic strips, which began in 1950. The musical — book, music and lyrics by Clark Gesner — had classic scenes of the baseball team, kite flying, Snoopy vs. the Red Baron, Schroeder’s masterful piano playing and Lucy’s “Psychiatric Help 5 Cents” booth.  And no shortage of “Oh, good grief.”

The musical, originally premiered in 1967, is a series of vignettes straight out of a Schulz comic strip. The singing and musicianship in the Riverwalk version take the production to higher levels.

Jeff English directs a capable, five-piece orchestra that is one of the stars of the show. Besides the 16-song accompaniments, English’s keyboard finesse is a full choir on its own. And when Schroeder pretends to play Beethoven and other masters, English effortlessly duplicates their skills.

English also plays recognizable tunes from the TV specials during intermission and after the encore.

All of the main “Peanuts” characters in “Charlie Brown” have voices that soar. Tricia Rogers as Lucy Van Pelt has an operatic prowess that commands your ears. The sextet blends well together and harmonizes splendidly.

Director Bob Purosky chose a suitable cast of characters. Even though the collection of eternal kids all have annoying traits and obvious adults play them, somehow an audience of kids and adults is made to enjoy them all.

Brian Farnham, with a full head of hair, replicates the depression and insecurities of Charlie Brown.  Robert Mueller is the bossy and snooty Schroeder.  Braden Cooley is the thumb sucking, blanket-obsessed Linus Van Pelt. Taren Going plays Sally Brown, the ditzy, younger sister.  Together with Rogers’ crabby Lucy, the troublesome group is genuinely charming.

Christopher Verhil’s Snoopy, even with a human nose with no black tip, often steals the show with goofy animations. His “Suppertime” solo had the house making its own dog-like howls.

The minimal, moveable set embellished with drawings by Eric Chatfield is an adequate playground for the iconic figures. Snoopy’s dog house, featuring drop-down wings and a Sopwith Camel insignia, and Lucy’s booth were clever recreations. Oversized pencils, toothbrush and other props designed by Jean Burk and Gloria Vivalda, as well as projections of crayon drawings by July George Purosky added to the immersive experience.

Despite an almost-two-hour-with-intermission running time, “Charlie Brown” keeps all ages engaged. This was achieved through Purosky’s fast pace, the ever-changing scenarios and a Schulz-like ability to find humor in things like rejection, anxiety, self-doubt and bullying.

Youngsters react with glee to the silliness and slapstick. Adults are amused by the wit hidden in such antics. “You’re a Good Man, Charlie Brown” has aged well and remains a god choice for families.

Cynical, adult critics might be bothered by a show with grown-ups in token disguises who try so hard to act like kids that they sometimes seem to play dumb instead of acting innocent. Most who see the popular production might think that’s just some whaa, whaa, whaaa from a blockhead.

“You’re A Good Man Charlie Brown”

$14-26

Thursday, Dec. 5 to Sunday, Dec. 8

Various showtimes

Riverwalk Theatre

228 Museum Drive, Lansing

(517) 482-5700, riverwalktheatre.com