'You're a Good Man, Charlie Brown' is ... different

"YOU'RE A GOOD MAN, CHARLIE BROWN, Old Lyric Repertory Company, Caine Lyric Theatre, Logan, through Aug. 1 (435-797-8022 or www.boxoffice.usu.edu); running time: 1 hour, 35 minutes (one intermission)

Patrons used to high-energy memorable musical revues as part of the summer offerings on the OId Lyric Repertory Company stage will find "You're a Good Man, Charlie Brown" a bit, well, different.

Compared with past offering such as "Forever Plaid," "Chaps!" and "Route 66," this production doesn't seem to have the contagious, growing energy needed to engage the audience.

The show is unlike many musical revues in that there are very few high-harmony ensemble numbers. Think of it more as a series of four-panel comic strips played out before your eyes, with some longer Sunday comics (musical skits) mixed in. Just like any comic strip, some are funny and some are not. In fact, it was not until the closing number of the first act — an examination of the story of Peter Rabbit, done partly to song — that the audience was able to warm up to the production.

This, and the "Dance of the Blankets," saved the first act, because these two moments, as it turned out, had the most energy and activity in the performance.

Felicia Stehmeier was top-drawer as Lucy. Always shouting, always controlling, Stehmeier was the first to get into character and portrayed Lucy right on target. Aubrey Campbell, playing Sally, never broke character from start to finish, playing up the wide-eyed, curly-haired exuberant little sister of Charlie in a likable manner.

Casey Allen grew into his character of Linus as the play progressed. Snoopy (Andy Johnson) won some friends with his first solo and his puppy-infused pleasure in "Suppertime," near the production's end.

Pacing was measured and could have been speeded up a bit, and only rarely did it feel like the actors were having fun with the production on opening night, which will undoubtedly improve as the season progresses.

Music throughout was provided by electronic pianos and keyboards placed in front of the stage, handled very well by Laurie Hart and Edye Wagstaff.

But even the muted and subtle background piano was a departure from past experiences of live bands or lively recorded soundtracks. With very few tight, harmonic group numbers, "Charlie Brown" often felt more like loud talking with some different notes involved. Again, not all bad, but different.

A comic strip brought to life, this presentation of "You're a Good Man, Charlie Brown" ends up being more like "You're just a so-so guy, Charlie Brown."

"You're a Good Man Charlie Brown" plays in repertory with "The Foreigner," "The Importance of Being Earnest" and "An Inspector Calls" until Aug. 1.

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