The number of times I have seen a production of You’re a Good Man Charlie Brown has escaped me, but without a doubt The Longwood Players production of this simple, yet timeless piece, was a true depiction of and tribute to the American Institution that is Charles Schultz Peanuts comic strip.  Director Kaitlyn Chantry led her talented cast of 12 through the classic conundrums of Charlie Brown and his gang of juvenile fellows with a clear vision and respect for the work from which it is inspired.  This light hearted musical explores the seemingly simple, however astoundingly complex questions and discoveries of a child’s mind.  Through songs and series of short sketches, the innocent and ingenuous inclinations of those of a single digit age are evoked from an audience of all ages.

The stage of the lavish theater located in the YMCA in Central Square, Cambridge was minimally set with the classic and distinctively Schultz-esque depiction of a large tree, captured in a single frame of a comic strip set askew in the proscenium arch.  Renderings of Charlie Brown were brought on and off stage to help capture the stationary nature of a comic strip.  This allowed the live action Charlie Brown, played masterfully by Matthew Finn, to express the inner monologue of the shows quiet hero while the action of the scene took place.  This was most effectively achieved during in the song “The Kite” in which string was incorporated to create the image of Charlie Brown flying a kite, while frustration and consternation for the uncooperative kite was sung out to the audience.  The use of these cut out’s along with the use of other well designed set pieces and props (i.e. a television, couch, bench, dog house etc) brought the stories of the Peanuts gang from news copy to the stage.  Fixed on stage was the orchestra, dressed in yellow and feathers as a head nod to Woodstock, Snoopy’s non-verbal but ever present bird friend, who was lost in translation from the Sunday comic to the stage production.  While I appreciated the acknowledgment of Woodstock, the interactive pit served, at times, as a distraction and a hindrance on the mobility of characters and set pieces.

Each and every cast member filled the space with the astounding and seemingly ceaseless energy that children possess.  This was, in particular, displayed by Siobhaun Maus portraying Violet.  She captivated my eye each and every time she was on stage.  April Pressel also replicated such energy as Sally Brown with the zeal I’ve often seen lacking in other portrayals of Charlie’s kid sister.  Pressel displayed a wide vocal range “flexing” her vocal muscles with some impressive soprano notes. Jason Luciana was also a stand out performer as Snoopy, Charlie Brown’s ever cool pet beagle.  His singing voice was seamless and enjoyable.  In particular I enjoyed his vocalization of Snoopy’s various moans and whines, which made up for a lack of droopy ears that I would have liked to have seen in the depiction of the pooch.  I appreciated immensely the naiveté that Ian Flynn brought to his portrayal of Linus Van Pelt that is often lost in the wise-beyond-his-years nature of the role.  I have had the joy of seeing Flynn perform in several prior productions and have never enjoyed him quite so much as I did in this role (not to mention seeing him with out a beard!).

Reminiscent of the comic strip and the subsequent series of cartoons was the brilliant physical characterization by the actors.  Rachel Savage, as Lucy Van Pelt, took this physicality to the utmost potential.  Using her posture and entire range of arm mobility, she created contrasts between each moment, much like an actual comic strip.  I must be entirely honest when I say that the role of Lucy and the songs and scenes that come with it are some of my least favorite in all of musical theater.  Savage salvaged the role with her sense of the comedic and by bringing to her songs a vocal refinement that is often lacking, which negated the shrill quality I’ve always associated with Lucy.

Matthew Finn as Charlie Brown was a casting made in heaven.  Finn’s sweet and effortless voice brought to the music a hopeful melancholy that captured the essence of Charlie Brown’s signature tag line “good grief”.  His subtle and understated acting choices replicated the “humility, nobility and sense of honor” synonymous with Charlie Brown.

This joyous production was a delight.  The cast, crew and creative team brought together quality entertainment.  The effort and joy that went into this production was abundantly apparent.  And I was, yet again, despite my many viewings of many productions of this musical, caught up in the sweet emotion of the final line of the show when Lucy plainly put’s it to Charlie – “You’re a good man, Charlie Brown.”

Matthew Finn charms as Charlie Brown.