It’s All Good, and Zero Grief with You’re a Good Man, Charlie Brown at Gateway Playhouse

by Deitra Oliver

Growing up, the ever-unlucky Charlie Brown and his motley crew of friends were a fixture in our home every holiday with the classics A Charlie Brown Christmas, It’s the Great Pumpkin, Charlie Brown, and A Charlie Brown Thanksgiving. As a lifelong fan, I was really looking forward to this production of You’re a Good Man, Charlie Brown by Gateway Playhouse. Despite my love of the Peanuts and the hilariously real world created by Charles M. Schulz, this was my first time seeing this musical production, though it has been on stage since 1967, with a revision in 1999.

Directed by Chip Garrison, this production certainly lived up to my high hopes. This slice-of-life style show mimics the greatness of the Peanuts comics. There is no grand story being told; it is simply a look into the life of the luckless, lovable, and ever-hopeful Charlie Brown.

Upon entering the Gateway Playhouse Theater, I was warmly greeted by the front-of-house team and given clear directions on where to go and sit. They had a lovely concession area set up, with show-themed cocktails available for purchase. I got the Red Baron, and it came in a very cute commemorative cup. For my fellow seat aficionados, I would like to mention that the seats were extremely comfortable, with plenty of legroom and nice cushioning.

Entering the theater, I was impressed by the stage setup, which immediately transported me into the nostalgic world of Peanuts. The technical team, led by Technical Director Peter Avagliano, who also did double duty with set and lighting design, and Assistant Technical Director Jason Spatz, truly did an amazing job recreating a two-dimensional world in our three-dimensional reality. The beautifully designed backdrop panels, made to look like the iconic stripes on Charlie Brown’s shirt, created depth and built layers on the stage, imitating comic-book panels.

Backdrop Scenic Designer Christina Avagliano included all the classic elements of the Peanuts cartoons: Snoopy's house, the mailbox, and Schroeder’s piano were all present on the stage and looked like they had fallen off the pages of a comic strip. One of my favorite elements was Lucy’s psychiatrist booth. The commitment to maintaining the classic Peanuts fonts and recreating these quintessential elements really helped build the world. The addition of digital projections by scenic artist Janelle Hawkes elevated the production to the next level. I loved the seamless transitions and the movement they provided. The rabbit-hunting sequence was so fun and interactive; I found myself getting excited whenever I spotted a rabbit sneaking onto the screen.

I was seated in the third row and was impressed with the live pit band led by Musical Director Henry Moore. The pit band, comprised of Moore as conductor and on keys, Fred Rushmore on drums, Rich Kurtz on bass, and Gary Sita on woodwinds, was layered throughout the stage, with musicians positioned behind panels and in the pit. A portion of the band was directly in front of me, so I was able to observe Moore’s precision and skill as he led the musicians and performers throughout the show. The band was tight and cohesive, with outstanding musicianship.

One of my favorite sequences was when Schroeder, played by Gabe Lewis, dramatically plays the piano. Lewis did an excellent job of playing the musically obsessed and slightly emotionally clueless Schroeder. Lewis on stage and Moore on piano had beautiful timing that created comedic magic for the audience. Sound Engineer Michael Kropinack and Sound Technician Sarah Kropinack delivered impactful sound quality throughout the show. The balance between the musicians’ playing and the performers’ vocals was perfect; everything was clear and pleasing. As someone who uses subtitles for everything, it was refreshing to clearly hear everything being said and sung on stage.

With the stage set, the music excellent, and the lighting in place, the cast of this show had only one thing to do: shine. And shine they did. From their introduction in the opening number, “You’re a Good Man, Charlie Brown,” each character was clearly portrayed before even doing much of anything, in large part due to the excellent costuming by Costume Designer Philip Pallitto and Assistant Costume Designer Karen Sutherland.

Gateway Playhouse had two casts for this show, and I attended the February 28 evening performance. Nick Efstatos played the lead role of Charlie Brown, and from his first forlorn shoulder slump, I believed him. He perfectly embodied the hapless but optimistic Charlie Brown with clear, pleasing vocals and just enough self-deprecating humor to keep it entertaining.

The siblings Lucy Van Pelt, played by Tabitha Casale, and Linus Van Pelt, played by Kimberly Tunney, were a great duo. The tender moments shared between the two warmed my heart and made me think of my own siblings. Casale brought a fun primness and strong physicality to her portrayal of Lucy that had the audience cracking up. Tunney, as Linus, brought the sensitivity and introspection one would hope for from the character. “My Blanket and Me” was a show-stealing scene, and Tunney delivered a comedic yet heartwarming master class in the art of not letting go. It’s a hard world; keep your blanket if it makes you happy.

One of my favorite characters from the comics, and from this show is Sally Brown. Played by Lindsey DeVol, Sally came to life in all her inquisitive, high-energy, dramatic, romantic-ideation glory. DeVol brought a playfulness and intelligence to the role that showed Sally as the young child she is, while still making her relatable. She had great comedic timing, and I looked forward to each of Sally’s monologues.

Snoopy, played by Mollie Henfey, was another favorite of mine. Hanging out on the roof of the doghouse, Henfey embodied Snoopy’s paradoxical nature: sometimes warm and loving, sometimes a little cruel and teasing; sometimes very dog-like, sometimes almost human. The performance was delivered with both hilarity and care.

Rounding out the cast was Gemma Locatell, who played multiple roles, Frieda, Dancing Blanket, and Peter Rabbit, and was also the only cast member appearing in both casts. Locatell brought a fun energy to the stage and never missed a beat. The rabbit-hunt sequence had them bouncing all over the stage.

Kudos to choreographer Karen Cleighton, who, despite the small cast size, utilized the space and made each scene feel full and alive. If you’ve ever seen a Peanuts film, you probably remember the dances, and I love that Cleighton brought that same free and unencumbered energy to the choreography.

This production ran smoothly, with not a single missed cue, prop, or transition that I noticed, and that is a testament to the power of an excellent team. Stage Manager Scott Friedman and Production Assistant Alan Mercer surely played huge roles in making it happen.

While I wasn’t able to see them perform, I’d also like to highlight the alternate cast: Charlie Brown- Mike Moore; Lucy Van Pelt- Danielle Cordivari; Linus Van Pelt- Mia Patermo; Schroeder- Ephraim Smith; Sally Brown- Taylor Mulford; Snoopy-Kacie Burnett; Frieda, Dancing Blanket, Peter Rabbit- Gemma Locatell.

You’re a Good Man, Charlie Brown at Gateway Playhouse was a pleasant trip down memory lane. The care and intention taken in delivering this show, from the production team to the musicians, to the cast, to the front of house, surely would have made Charles Schulz smile. I know it made me smile.

While this production has wrapped, Gateway Playhouse will be doing Jesus Christ Superstar in April, and if this production is any indication of the quality of their work, I will definitely be there, and so should you.