‘Charlie Brown’ feels fresh again
“You’re a Good Man Charlie Brown,” based on the comic strip “Peanuts,” is the most performed musical in America, and some might say, “Enough Charles Schulz already!”
But when a director and cast infuse a show with rejuvenating energy and talent, anything can be made new. Watching the Nevada Conservatory Theatre production, I felt as if I were seeing these characters for the first time.
Director Glenn Casale, scenic designer Carla Siller, lighting designer Happy Robey and costumer Jessica Culpepper get things off to a hopeful start by setting the simple action within the visual framework of a comic strip.
The one-dimensional look of clouds, the overstated colors of clothes, the exaggerated heights of chairs, the melodramatic light changes, all suggest we are seeing the world not just from the eyes of children, but the eyes of cartoon children. We’re ready to enjoy ourselves before the characters sing a note.
Stephen Crandall as the hapless Charlie Brown projects a wistfulness and such a naked desire to be liked that you wind up liking him very much. Crandall is an imposing, athletic actor; not the sort normally associated with Charlie Brown. But his towering presence actually aids him in appearing awkward. He comes across as a kid who hasn’t yet figured out how to move around in his body.
Brandon Burk projects a near-infant’s naivete, so that we believe he really has a need to suckle a thumb and keep possession of a security blanket.
Arthur Ross as the Beethoven-loving Schroeder is a gentle bear of an actor with a huge, ferocious voice.
And Zonya Love Johnson, as Lucy, gives new meaning to mean. There doesn’t seem to be anything on Johnson but eyes and teeth. When she opens her mouth to bellow a command, you get the feeling this woman could devour an entire audience if she got mad enough. Her acting is made complete by a singing instrument that’s as loud and threatening as it is controlled and well-trained.
Casale finds a near-perfect playing pitch for his actors: exaggerated, tongue-in-cheek and rooted in reality. Choreographer Bernie Blanks adds to the light-hearted tone with slightly self-mocking movement that still somehow maintains an air of innocence.
Unfortunately, Crandall’s songs sound too much alike because the occasionally wooden actor isn’t sensitive enough to lyric. He doesn’t always play the slight shifts in his character’s emotional temperature.
But the show is sweet, surprising and familiar. It hurls at you memories of childhood that you didn’t know you had.
Anthony Del Valle can be reached at DelValle@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.