FRINGE REVIEW: DOG SEES GOD

If there's going to be one breakaway hit from the Fringe this year, I'd lay my money on Dog Sees God: Confessions of a Teenage Blockhead. More than just building with wicked glee on the foundations laid by Charles Schulz, far from a parody of a cultural icon, Bert V. Royal's comedy can be enjoyed by people who have never seen or heard of Peanuts. Royal's work is complete into and of itself, and stands on its own as a damn good play.

Set approximately ten years after the events in the fifty-year-running comic strip, Dog Sees God begins with Snoopy's death, and things for the introspective CB (it's an unauthorized parody, no trademarked names allowed) go downhill from there. Still trying to understand life's darker meanings, still plagued with his endless identity crisis, CB talks to of his gang of friends to find answers to his many questions. Of course, this gives us the chance to laugh at seeing what became of these well-loved and recognizable characters: Linus is a stoner, Lucy is now under the care of psychiatrists instead of playing one, Sally's gone goth (this week), and "Tricia" and Marcy are alcoholic cheerleaders. Pigpen is as dirty as ever (only now on the inside), and the most changed is the artistic boy who now calls himself "Beethoven."

If this were all Dog Sees God were about, it would be funny and clever enough. But Royal takes his cue from his source material, and explores the deeper truths in these friendships. As Peanuts humourously examined a child's fears and concerns, Dog Sees God examines the teenage world. Peer pressure, sexual identity, love, and death are all discussed with both great humor and respect. Ultimately, while being hilarious and brilliantly original, Royal's work manages to be poignant, intelligent, and genuinely touching all at the same time.

The cast is nothing less than ideal, and each actor functions just beautifully both as individuals and as part of an ensemble. As CB, Michael Gladis is almost never offstage, and his wry delivery perfectly captures the angst of Charlie Browns past and present. Bridget Barkan and Stelianie Tekmitchov as Tricia and Marcy work almost in sync with their physical comedy, and perfectly capture the façade that teenage girls want the world (particularly their peers) to see. Melissa Picarello, as the institutionalized "Van's Sister," turns in a brief but amazingly poignant performance that stops the show– in the best of all possible ways.

Susan W. Lovell's direction is at once energetic and languid, letting the play be quiet and contemplative when it needs to be, and sharp and fast when that's necessary, too. And her choreography for one scene literally made me fall out of my chair with laughter. No small feat, that.

As cute and endearing as his work ever was, Charles Schulz was not afraid to let his creations be as pensive and even cruel as they were adorable. Bert V. Royal has a similar bravery, and has struck an excellent balance between hilarious comedy and moving drama with this play that would make Schulz proud.

And while I was writing this, I learned that Dog Sees God has been extended at the Soho Playhouse until September 12^th. Didn't I tell you it would be the breakaway hit of the Festival? Didn't I? Damn, I'm good.