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 You’re a Good Man, Charlie Brown (Revival)

Produced by The Players Theatre Company, Conroe, TX

Directed by Roger Ormiston
Choreography by Jodie Domingeaux Schrier
Music Direction by Shann Powers and Robert Lewis

Background

Coming into this show was a surprising joy. Shann, the music director, was the person who originally connected me with The Players Theatre Company back in 2015 when I was new at Magnolia West High School. Over that time, she saw my increasing interest and experience as a music director. When she signed on to direct this version of You’re a Good Man, Charlie Brown, she asked me to assist with the ensemble work and coordinating the tracks.

About the Show

Originally produced in 1967, You’re a Good Man, Charlie Brown follows an archetypical life in the day of the Peanuts characters. In a series of songs and vignettes, it sketches out the important features of the characters as well as illustrating some of the more famous Peanuts scenarios, including baseball games, Charlie Brown’s Kite, Lucy’s “Psychiatrist” booth, Snoopy’s active imagination, and more.

The original production, with music and lyrics by Clark Gesner and a book by John Gordon, featured the characters of Charlie Brown, Linus and Lucy Van Pelt, Schroeder, Snoopy, and Patty (not Peppermint Patty) along with a small band. It ran almost 1,600 performances Off-Broadway, but didn’t last when it transferred.

In 1999, a revival came to Broadway with an all-star cast and a larger orchestration by Andrew Lippa. Patty was replaced by Sally, who received a new song (which won Kristin Chenoweth a Tony Award). Lippa also wrote a new song for Schroeder and changed the arrangements of many of the other songs. Roger Bart also received a Tony Award for his portrayal of Snoopy.

My Work

Shann originally asked me to come in as “Rehearsal Pianist,” but once we were together it was clear she wanted input from me as an Assistant Music Director. In particular, she wanted support with the ensemble singing and coordination.

My primary tasks in this rehearsal were to help the singers understand their timing and coordination in complicated numbers such as “The Book Report, “Glee Club” and the title song. I helped to catch errors and identify possible solutions to the timing challenges that the songs have.

In addition, my prior experience with using The MT Pit’s tracks was helpful as I could help explain to both the actors and musicians what they needed to know at the start and end of the prerecorded tracks.

Media

In the embed box below, put links to videos available on YouTube.