A Good Man Indeed: Blue Canoe’s Charlie Brown
Don’t confuse the up-and-coming for the inexperienced: Blue Canoe’s production of You’re A Good Man, Charlie Brown sets the stage for young performers to spread their wings. In their 20th season of hosting the Juvenis Festival, Blue Canoe has delivered a wonderful opportunity for young musical talent across Kingston to create, experiment, and test their limits on stage. Ranging from the ages of 12-17, these performers sing, dance, and deliver a full blown stage production of the 1967 musical.
The entire cast is an evidently passionate group of individuals that have united to create a strong ensemble. Balancing the wit and eccentricity of their characters, each actor brings to the group their own unique flair to create the well-balanced mosaic that is the Peanuts crew.
Our leading man Charlie Brown, as played by Avery Alexander, seems to have stepped right out of the comic. In turns characteristically glum and hopeful, Alexander plays the charming downer with a firm understanding of his presence, sincerity, and relatable nature. Brown’s famous “lunchtime” monologue was enacted to its full effect— Alexander achieves the heart-wrenching humour of the boy. He is a perfect match for Charlie Brown’s soft spoken, introspective character. His sister Sally Brown, played by Vivian Ryan, is equally as well-cast, remaining resolutely in character through the entire production. Sally Brown is an ebullient young girl susceptible to mood swings, and Ryan tackles each new moment with clarity of character.
Snoopy, the beloved mascot of the Peanuts comic, is fiery and hilarious under the command of actress Kaede Fathers. A voice captain well suited to the job, she can truly ‘howl out,’ mastering her solos of “Snoopy” and “Suppertime.”
Charlotte Woodbury-Smith as Lucy Van Pelt brings all the energy called for by the part—and then some. She is a refined performer already, hitting each admittedly difficult cue with precision. As Lucy is such a sharp character, an equally brilliant actress is called for—and Woodbury-Smith rises to the challenge. Her honest-to-god gusto makes her a believable Queen-to-be.
Her younger brother, Linus Van Pelt, contrasts her boisterous performance with his psychological, deep-thinking disposition. The youngest actor on stage, Connor George is a considerable performer, with clear comprehension of role and script. His understanding of timing, both comedic and momentary, blew me away: he never rushed or floundered.
Schroeder is a true musician! Young George Tilson holds the reins of a fantastic voice, belting out the “Beethoven Day” solo with skill. He is—like all his co-stars—a natural comic. It got to the point where audiences were giggling upon his entrance, already anticipating a laugh.
The marvelous ensemble enhances the performance in every way. This group includes Ainsley Darrach as Clara, Violet Young as Marcie, Makendra Thompson as Shirley, Sophia Meneses as Rerun Van Pelt, Charlotte Darrach as Woodstock/Blanket, Isadora Romain as Violet, Alejandra Gutierrez as Peppermint Patty, Khloe Gibbs as Pig Pen, Lily Furlonger as The Little Red Haired Girl, and Elzie Gadbois as Peggy Jean.
Choreography by Charli Birdgenaw and Assistant Choreographer Angelina Ramsay was both visually pleasing and effectively manageable for the performers: a comfortable balance between technically efficient and involved, especially during the show’s titular opening number. The stage is used to its full potential, showcasing impressive variations in formation. Much enthusiasm was offered up from the ensemble, notably by dance captain Alejandra Gutierrez and Khloe Gibbs, who shone in the “Rabbit Chasing” sequence.
I am inferring from the adeptness of her cast that director Hailey Hatfield is an excellent communicator, guiding each performer into the apparent apprehension of script, humour, spirit, and moral they demonstrate. The show is a wonderful example of a talented group of actors brought together by a clear instructor.
The lighting, as designed by Christian Gael Salas Caldera, is well timed and placed, staged in a series of vignettes to reflect the musical’s short comic source-material. As the musical progresses through mini-scenes and punchline gags, the lighting has heavy responsibility to create a cohesive and traceable storyline. Salas Caldera’s lighting design does a seamless job of guiding audiences through the overarching story while the focus is pulled from one character to the next.
Aiding in Salas Caldera’s quest to pull together the ever-changing setting, whimsical set pieces are gracefully moved on and off stage by well-prepared actors and a diligent back stage crew (Lauren Riley and Camila Assi). The show is framed by a cartoonish backdrop, once again referencing the original comic book through projections on the cyc. Though I commend director Hailey Hatfield for taking full advantage of the stage, some moments would have benefitted from actors pulling forward so the light from the projector wouldn’t interfere with the stage lights—all actors are doing wonderfully, and it’s important to be able to see their faces!
The visual aesthetic of the production is tied nicely together by Alfonsina’s costume design. Working in tandem with the set (Bob Boughner) and backdrop, a rainbow colour scheme dots the stage with the classic comic-book style.
I was impressed by the evident dedication and love put into this performance by all involved. The creative team is largely composed of volunteers—hardworking people who keep the theatre world running, and their valuable work should be commended. I am immensely proud of the young performers that made this show the magic that it was, and I look forward to seeing more from Blue Canoe Productions.
‘You’re a Good Man, Charlie Brown’ is playing at the Domino Theatre until August 8th. Tickets and more information are listed here.
