“YOU’RE A GOOD MAN, CHARLIE BROWN”: Performances are underway for Princeton Summer Theater’s children’s show, “You’re A Good Man, Charlie Brown.” Directed by Lucy Shea, the musical runs through August 1 at Princeton University’s Hamilton Murray Theater. Above: Charlie Brown (Radon Belarmino, third from right) receives somewhat backhanded compliments from (from left) Schroeder (Simon Huynh), Snoopy (Kristen Tan), Sally (Olivia Levin), Linus (Griffin Schulman), and Lucy (Allison Silldorff). (Photo by Kat McLaughlin)
By Donald H. Sanborn III
Princeton Summer Theater (PST) is presenting You’re A Good Man, Charlie Brown as its children’s show for their 2026 season. The term “children’s show” should be taken lightly. Lucy Shea directs an exuberant and heartfelt production that highlights the appeal of the show, and that of its classic source material, for audiences of all ages.
Based on the beloved comic strip Peanuts by Charles M. Schulz, You’re A Good Man, Charlie Brown has a book, music, and lyrics by Clark Gesner. Additional music and lyrics are by Andrew Lippa, with additional dialogue by Michael Mayer.
Like the comic strip, the musical shifts seamlessly between poignant introspection and benign but often wry humor. Unifying themes and character arcs include Charlie Brown’s crush on the (offstage) Little Red-Haired Girl; the kids’ insecurities (or, in a few cases, absence thereof); and Snoopy’s vivid imagination and appetite.
Two songs — “Snoopy” and the ensemble’s exquisite finale, “Happiness”— both reflect on the importance of gratitude for small things. Tellingly, Snoopy recognizes and exemplifies this before his human counterparts do.
Gesner (1938-2002) was a Princeton University alumnus. His membership in the Triangle Club entailed participation as a writer, cast member, director, and vice president. The website for Princeton Alumni Weekly notes that his thesis topic was “The Development of American Musical Comedy.”
In the early 1960s Gesner began writing songs inspired by the Peanuts characters. In 1966 a concept album was released, with the songwriter performing the role of Linus. Perhaps unsurprisingly given this genesis, the musical does not have an extended storyline. (The time setting is described as “an average day in the life of Charlie Brown.”) Rather, it is a series of vignettes unified only by the characters and themes, not unlike the numerous book collections of the original strips. In form, You’re A Good Man, Charlie Brown fundamentally is a revue.
The musical’s first stage production was off-Broadway in 1967; a brief Broadway run followed four years later. An animated television special aired in 1985. It was for a 1999 Broadway revival that Lippa wrote additional music and lyrics.
Concord Theatricals, which licenses the show, gives theaters a choice between the original iteration of the musical, or a revised version that includes Lippa’s (and Mayer’s) contributions. PST has chosen the latter, and also appears to have exercised Concord’s option of omitting scenes (likely for reasons of time).
PST is presenting You’re A Good Man, Charlie Brown in the Hamilton Murray Theater, the same venue that houses its mainstage productions. By necessity, the musical’s scenery is highly portable and minimal, which is appropriate to the style of both the strip and the show. (It is amusing to see the musical’s colorful props flanked by the New York apartment scenery for PST’s staging of Barefoot in the Park.)
Set Designer Jeff Van Velsor bookends the stage with Snoopy’s multifunctional doghouse and a large mailbox that Charlie Brown hopes will be filled with valentines. In between those recognizable props are large colorful blocks, which enable Shea to place characters at different vertical levels.
The cast’s energy and enthusiasm, and Charlie Brown’s friends’ attitude toward him, all are evident in the opening title number, a rousing march. The title character maintains his dignity as best he can while the others discuss him.
Radon Belarmino brings affable sincerity to the role of Charlie Brown, whose introspective vulnerability and somewhat naïve hopefulness are especially apparent in the character’s two signature songs, “The Kite” and “The Baseball Game.”
Belarmio also captures Charlie Brown’s empathy and tact. In one of the most memorable dialogue scenes, Lucy (played by Alison Silldorff, who is outstanding in the role) takes a survey about her crabbiness; Charlie Brown gingerly offers polite non-answers, while Sally (a perky Olivia Levin) is cuttingly blunt.
Silldorff entertainingly portrays Lucy’s unsubtle and futile attempts to attract the attention of Schroeder (Simon Huynh) while he studiously practices piano, in “Schroeder.” The number boasts some deft musical craftsmanship by Gesner, who adds an original melody for Lucy in counterpoint with Beethoven’s “Moonlight” Sonata, which Schroeder is practicing.
Lippa gives Schroeder his own song (in which he is joined by Sally and the ensemble) with “Beethoven Day,” which satirizes the tendency to commercialize important events. Huynh infuses Schroeder with requisite sanctimoniousness as he reacts to the other kids’ suggestions for a theme park or superstore chain.
As the philosophical Linus, Griffin Schulman provides an apt foil to Silldorff’s artfully vociferous portrayal of Lucy. Schulman (who states in his program biography that this is his first theater performance) is charming in “My Blanket and Me,” in which Linus attempts to evince an ability to separate himself from the linen that he carries everywhere. Gesner sets Linus’s affected nonchalance to a bouncy swing pulse.
Levin, who captures Sally’s spunk, is entertaining in the other number interpolated by Lippa. “My New Philosophy” is a blithe showpiece for Sally, who hears random everyday phrases in conversation, and turns them into aphorisms.
“Snoopy” is a number that showcases Gesner’s skill as a theatrical composer and lyricist, as well as his understanding of this world and its characters. In the placid, expressive first section he subtly captures Snoopy’s eccentricities (the beagle appreciates the “sturdy roof beneath my head”); while the contrastingly intense middle section shows his occasional feral wish to bite someone.
It is a fine example of a musical theater song, because it gives the actor wide latitude for a standout performance. As Snoopy, Kristen Tan takes full advantage of that latitude. She brings considerable energy (and, when required, intensity) to the role, give the song’s opposing segments the contrast they need.
Arguably, Shea’s best work with movement is seen in Snoopy’s other showpiece: the briskly syncopated, celebratory ode to “Suppertime,” for which Tan brings the full exuberance required. Shea adds the other cast members for an energetic dance routine, with the usually contemplative Linus banging on a tambourine.
Costume Designer Alex Conboy’s creations successfully evoke the colors and styles of the outfits worn by the characters in the comic strip, replete with Charlie Brown’s iconic yellow shirt. Kat McLaughlin’s lighting does all it can to maximize focus on the actors (and away from the Barefoot in the Park scenery). The lighting is perhaps most memorable in “T-E-A-M (The Baseball Game),” which shifts between the game itself, and Charlie Brown’s memories of it as described to his Pen Pal.
Jenia Marquez capably provides the production’s music direction. There is varied vocal ability throughout the cast, but the ensemble numbers benefit from a balanced and pleasing blend of voices. Pianist Julia Young accompanies the cast on several songs, while prerecorded instrumental tracks are used for others.
Two issues deserve attention throughout the remainder of the run, both of which pertain to sound. One is vocal projection; some cast members are more audible than others. There also needs to be more balance between the actors and the accompaniment. At times the entire cast seems to be competing with the sound system that amplifies both the live keyboard accompaniment and the prerecorded tracks.
These quibbles should not detract from the production’s overall quality. Hopefully this run of the show will introduce a new generation (and perhaps their parents or grandparents) to musical theater, and bring back memories for those who have seen other productions.
Even if you have seen other iterations of the show, enjoy this production. Charlie Brown’s baseball team may or may not win a game, but overall PST scores a home run with You’re A Good Man, Charlie Brown.
“You’re A Good Man, Charlie Brown” will play at the Hamilton Murray Theater in Murray Dodge Hall, Princeton University, through August 1. For tickets, show times, and further information visit princetonsummertheater.org.