Review: YOU'RE A GOOD MAN, CHARLIE BROWN at Slow Burn Theatre Company

Previously, Slow Burn Theatre Company thrilled audiences with its stirring production of Jekyll and Hyde. However, Slow Burn recently opened the more cheerful and family-friendly You're A Good Man, Charlie Brown in the Broward Center's intimate Abdo New River Room.

Based on the Peanuts comic strip by Charles M. Schulz, You're A Good Man, Charlie Brown features book, music, and lyrics by Clark Gesner. The musical was originally developed as a concept album before being staged Off-Broadway in 1967.

In 1999, the show was revived on Broadway at the Ambassador Theatre. This production introduced new songs by Andrew Lippa and additional dialogue by Michael Mayer. Slow Burn's production of You're A Good Man, Charlie Brown utilizes the 1999 revival libretto, which features the songs "My New Philosophy" and "Beethoven Day."

You're A Good Man, Charlie Brown shows the Peanuts gang going through the trials and tribulations of their everyday lives. Charlie Brown wants to get his stupid kite to fly, Lucy is pining for piano prodigy Schroder, and the eager beagle Snoopy is determined to bomb the Red Baron as he waits for his supper.

Patrick Fitzwater directs You're A Good Man, Charlie Brown in a manner that pays homage to Schulz's comics. He stages each individual scene with the snappiness and brevity reminiscent of a four-panel newspaper comic strip.

Cameron Jordan, who recently garnered a Carbonell nomination for Slow Burn's production of Rock of Ages, plays the title role of Charlie Brown. He adds the right balance of humility and charisma to his performance. Jordan showcases his lyric tenor voice when he sings "The Kite Song" and "The Baseball Game." His childlike innocence especially shines through during some of his longer monologues, particularly when addressing his affection for the Little Red-Headed Girl.

Kristi Rose Mills delivers a cute yet mature performance as Sally Brown. She treats her character like an adult. Her confident gait is easily juxtaposed with an innocent-sounding lisp. Mills' comic timing is the strongest during her "Coat Hanger Sculpture" monologue and the song "My New Philosophy." Vocally, Mills gives Sally a nasal and slightly Southern drawl. This is a clear nod to Kristin Chenoweth, who won a Tony for playing Sally on Broadway.

As Lucy Van Pelt, Nicole Kinzel graces the stage with her brash delivery. Kinzel is not afraid to push her character to the limit-with big and forceful gestures and a loud belt that is identical to the voice of a crying toddler. Her vocal choices are especially effective when she sings "Schroder" and "Little Known Facts."

Robert Fritz plays Lucy's brother Linus with multiple layers. Fritz doesn't just play Linus as babyish, even when he is sucking his thumb or cuddling with his security blanket. Fritz downplays the sensitive side of Linus by highlighting his intellect and wisdom. This gives Linus' character a self-assured personality.

Rick Peña (who also doubles as the show's costume designer) plays Schroder with a childish demeanor. While you see Schroder as mature and focussed as he plays Beethoven's "Moonlight Sonata", Peña really embraces Schroder's immaturity throughout the rest of the show. Pena's performance is at its best when he roasts Lucy during Schroder's "crabby girl" monologue.

The most memorable performance of the evening came from Sahid Pabon, who played Snoopy. As an actor, Pabon appears fearless as he commits to his animal-like physicality onstage. Vocally, Pabon showcases his versatility as a singer. When you first hear him sing "Snoopy," he shows off his smooth and sweet tenor range, including some strong falsetto notes. However, as he sings the show-stopping "Suppertime," he gets to flaunt his full baritone voice. Pabon's ballet skills are also on display during "The Book Report." In this number, Sally and Snoopy perform a pas de deux as they chase rabbits. Throughout this duet, Pabon moves with clean execution, especially as he dances in arabesque.

While music director Michael Ursua utilizes prerecorded tracks in lieu of a live band, the cast still sings with a surprisingly organic musical pulse. The show's ensemble, under Ursua, maintains a well-balanced sound as they sing choral numbers like "The Book Report," "Glee Club Rehearsal" and "Happiness."

Scenic designer Jodi Dellaventura creates a two-dimensional set that feels like you have stepped into a Schulz comic. She utilizes a simplified palette of bright primary colors to create flat images. Clouds, bricks, and trees are all painted with the same distinct black outline.

This aesthetic can also be seen in the show's props, which were designed by Fitzwater and Matthew Korinko. Each individual prop is intentionally oversized, from Charlie Brown's peanut butter sandwich to Lucy's blue pencil.

When designing the show's wardrobe, Peña ensures that everyone onstage appears cartoonish. To coordinate with Dellaventura's set, each garment--from Charlie Brown's yellow zig-zag polo to Lucy's sky blue dress--features a bold black outline. As a result, the audience is reminded that the show's characters are images that were drawn by the hands of Charles Schulz.

Although Slow Burn's staging of You're a Good Man, Charlie Brown is simple in scope, it is as exciting to watch as shows with high-tech production values. With a cute and close-knit ensemble and a caricatured mise-en-scene, you'll be cheering "Good Grief, Charlie Brown" by the end of this wonderful production.

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Slow Burn Theatre Company presents

You're A Good Man, Charlie Brown

Based on The Comic Strip "Peanuts" by Charles M. Schulz.

Book, Music, and Lyrics by Clark Gesner.

Additional Dialogue by Michael Mayer. Additional Music and Lyrics by Andrew Lippa.

Directed and Choreographed by Patrick Fitzwater. Music Direction by Michael Ursua.

Featuring: Robert Fritz, Cameron Jordan, Nicole Kinzel, Kristi Rose Mills, Sahid Pabon, and Rick Peña.

Scenic Design by Jodi Dellaventura. Costume Design by Rick Peña. Lighting Design by Thomas Shorrock. Prop Design by Matthew Korinko and Patrick Fitzwater.

Opened: February 28, 2019. Closing: March 10, 2019.

In the Abdo New River Room at the Broward Center for the Performing Arts. 201 SW 5th Ave, Fort Lauderdale, FL 33312. For tickets or more information, please go online to browardcenter.org or slowburntheatre.org.

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