By Laura Charlton

On opening night, St Ambrose Hall was filled to the brim with sound and colour as the University of Melbourne Musical Theatre Association swept its audience away to the world of Peanuts with their semester one production, You’re a Good Man, Charlie Brown. For their first production after COVID, it’s understandable that a small-scale musical was selected, and this heart-warming little production was a welcome return by UMMTA.

Based on the iconic comic strip by Charles M. Schultz, this musical is a scrapbook of childhood memories and nostalgia, focused not on plot, but on emulating the quick, sweet humour of a Sunday morning comic. It resembles a comedy review in structure more than a traditional musical, with characters emerging onto the stage for short scenes of wholesome humour, childish arguments, and uplifting moments of solidarity in a world these kids are still figuring out how to navigate.

That world is a recognisable one indeed, so there is little room for experimentation in design. However, Ella McDermott and Helena Cui’s set, as well as Samantha Hastings and Becky Silveira’s costumes, are charming homages to the comic strip’s style. With Snoopy’s red doghouse and Lucy’s yellow therapy stand framing the stage, there is no mistaking where you are from the moment you enter the space. Although small, it is undeniably used to its fullest potential, with characters running rings around the audience, weaving in and out, Lucy even accosting some theatregoers to rate her “crabbiness”. Sometimes, this drops the pace; in a show already so fragmented, without a driving plot behind it, the addition of audience interaction slows it down on occasion.

The episodic structure threatens a feeling of disjointedness, which does emerge every now and then, particularly in solo scenes. The cast, however, largely keeps the show light and cohesive through their impressive energy and ensemble work. The comedic timing throughout is almost impeccable; every joke lands, and audience laughter is skilfully extended by a well-placed eyeroll from Guy Webster as the wise-cracking Snoopy, or an impressive Lucy-van-Pelt-glare from Adeline Hunter. Hayley Edwards’ Sally Brown has a wide-eyed, nigh-on-terrifying eagerness to her, punctured by her sarcastic jabs at her brother, drawing plenty of laughs. Playfulness is at the crux of this production, and that comes through clearly.

Naturally, musicals hinge on the performance of their… well, music. The band is outstanding, bolstering the show’s pep, and the vocal performances from the cast are impressive. The childish, nasal tones of their voices are grating by the end, but it is certainly the kind of performance the musical calls for, and the cast delivers.

Teresa Giasiracusa’s movement direction is a nice touch, with charming partner numbers and some hilarious ensemble dances. The Act One closer, The Book Report, is an especially memorable mish-mash of movement which perfectly evokes the chaos of a primary school playground, and Snoopy’s vaudeville Suppertime performance is another highlight, as more and more characters jump onstage to join in.

The quiet introduction of a female Schroeder, played by Melanie Verhagen, is a welcome change which was entirely unnoticeable, and therefore all the more exciting, especially in a show which is so family-friendly. It’s nice to think of a kid seeing this production and feeling a little more justified in her playground crush, as she watches Lucy moon over the little girl at the piano. UMMTA’s president Olivia Jackson noted that in other aspects, however, this production wasn’t the most diverse, and has acknowledged that more could have been done to ensure this production reflected Melbourne’s community to a larger degree. This is a welcome comment.

Personally, I’ve never been particularly fond of musicals, but I found myself enjoying this production more than I expected to. Perhaps it’s because I find it more natural for children to suddenly burst into song about whatever they’re doing at the present moment, or perhaps this musical’s episodic structure lends itself well to isolated musical numbers. Maybe it was just the obvious camaraderie between the cast which lent the ensemble work such energy. Regardless, on the whole, I enjoyed myself. UMMTA’s return to post lock down theatre was a safe, family-friendly call which didn’t offer anything particularly new or refreshing about musical theatre — but then again, that was hardly the aim.

You’re a Good Man, Charlie Brown, was an evening of wholesome, nostalgic fun that immersed the audience into its world. With some outstanding ensemble work, great musical performances, and genuinely heart-warming moments, this production was a welcome return to the simpler pleasures of seeing live theatre.