ajhlovestheatre

YOU’RE A GOOD MAN, CHARLIE BROWN

Book, music and lyrics by Clark Gesner

Additional dialogue by Michael Mayer

Additional music and lyrics by Andrew Lippa

Directed and choreographed by Amanda Noar

Upstairs at the Gatehouse, London – until 14 January 2024

https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173647538/events/428611599

Incorporating the changes made to the 1967 off-Broadway tuner for the starry 1999 Main Stem revival that garnered Kristin Chenoweth her first Tony award, this revival of Clark Geisner’s delightful musicalisation of the beloved Schulz Peanuts cartoons hits the sweet spot where children and nostalgic adults will be equally entertained. Although ostensibly about small kids, and their knowing mutt Snoopy, the observations and characterisations are firmly pitched at the more mature audience members: with this gang of mouthy, bossy, sensitive youngsters, Charles M Schulz created a microcosm of American society; it’s very funny but also mercilessly well observed. In that sense, it was a precursor of The Simpsons, a few bars from the theme tune of which is wittily interpolated into a hunting sequence in the second half.

Amanda Noar’s bouncy but whipsmart, expertly choreographed production gets it exactly right. Given the limited nature of the space, Noar has even managed to incorporate several examples of simple but highly effective stage magic, such as flying kite or an outsized dancing blanket for Jacob Cornish’s adorable, lisping Linus. The dances have a real Broadway level flair and are put over with enthusiasm and skill by an excellent six strong company.

Perhaps inevitably for a show inspired by a comic strip, You’re A Good Man, Charlie Brown is essentially episodic, a series of sketches and snapshots rather than a coherently crafted musical comedy, and not very much happens. It’s funny though and occasionally rather touching, and Gesner’s score is a real charmer. These lilting, musically sophisticated but immediately lovable numbers skilfully pastiche American song forms from vaudeville to Broadway big band, and are peppered with fine, pithy lyrics. Gesner’s music sounds like a forerunner to the acclaimed work of contemporary American MT tunesmiths such as William Finn and Andrew Lippa, the latter of whom has provided two new songs which slot seamlessly into the existing score.

The performances are suitably high octane: Jordan Broatch is a wide-eyed, sweet humoured Charlie Brown, and Troy Yip captures exactly the combination of exasperation and puppyishness required for precocious budding pianist Shroeder. Eleanor Fransch’s terrfiying Lucy Van Pelt is a fabulous, fierce creation, a domineering whirlwind of feistiness that will probably end up running a whole State within a few decades. You can equally see the older man that her brother Linus will end up as, in Cornish’s surprisingly nuanced performance. Millie Robins delivers caffeinated, cute work as Sally Brown.

The star turn comes from Oliver Sidney as a wonderfully world weary Snoopy. Whether hunched over in silent judgement of the idiocy of his human playmates, reclining laconically in sunglasses atop his dog kennel or participating in the group numbers with a sort of unwilling insouciance, it’s a terrific, and consistent, characterisation, and an exemplary bit of musical comedy playing. He sells his ‘Suppertime’ eleven o’clock number like a classic oldschool vaudevillian.

The sound balance between the singers and Harry Style’s superb five piece band is exquisitely managed, and the whole production suggests it was assembled with loving care by a team of people who really understand the genre they’re working in. The musical itself isn’t one of the greats – the second half feels a little baggy – but it makes for more than agreeable family entertainment when it’s done this well. I hadn’t seen any of Amanda Noar’s work before but will try to make a point of seeing anything she does in future. This is a lovely couple of hours, and a welcome festive alternative for families who don’t fancy panto.