‘You’re a Good Man, Charlie Brown’ @ CenterStage Theatre Works

Photos by Charlotte Taylor

—Hannah Kneen

Charlie Brown and his friends are stepping out of their comic strip and onto the stage at Frisco Discovery Center this fall, in the CenterStage Theatre Works production of Clark Gesner’s musical You’re a Good Man, Charlie Brown.

I imagine most of us are familiar still with Charles M. Schultz’s famous comic strip Peanuts, with its colorful characters, quick wit, and philosophical observations. The original comic strip started its run in 1950 and continued for half a century; this musical hit the stage in the 1960’s and continues to be a popular choice today. If you’re keen on a show centered on heart and humor, if you go (pea)nuts for Snoopy, or if you’re just looking for some good old-fashioned nostalgia – the good kind – this is the show for you.

If you’re unfamiliar with the style of this musical, though, it might take you by surprise. Instead of being plot-focused and sequential (i.e., one plot point causing the next one and so on and so on to the end) the show has a definite comic strip quality: it’s composed of mostly disconnected shorts, each one complete in and of itself.

This particular production is directed by CenterStage artistic director Charlotte Taylor, who writes in her director’s note: “When I revisited this show, I realized something: the world needs this right now. Not cynicism. Not spectacle for the sake of spectacle. But heart. Humor. Humanity. And actual wisdom: the kind that comes from the mouths of kids who see the world more clearly than the rest of us.”

Charlie Brown is lighthearted and wholesome, but not fluffy, and it has enough substance to appeal to both children and adults. There’s a childlike honesty here that’s both funny and irresistible to young or old—and judging from the audience’s reactions, the humor was certainly met with great appreciation.

The adult cast is versatile and capable. From Alex Eding’s very sympathetic and relatable Charlie Brown to Elyse Allen’s precocious Sally to Jennifer Goebel’s decisive Lucy, each character seems to capture the spirit of the original comics. Troy Murray’s Snoopy is mischievous and energetic as he flips through his wide range of alter egos; he definitely seemed to be an audience favorite. The swing cast members are committed and well-practiced, and the show moves like a well-oiled machine. That kind of flow is vital for a show composed of so many fast-moving scenes, snippets, and transitions.

Another plus: there are some very good voices among this cast. Nick Merritt’s Schroeder and Elyse Allen’s Sally in particular caught my ear, and music director Jared Duncan does a very good job across the board. And with few exceptions, the volume levels/balance between the voices and the music is spot on.

The tech is simple but clean. There was some trouble with the mics popping in the beginning of the performance I saw, but the problem seemed to diminish as the show progressed; I imagine the issue won’t persist. Josh Henley’s set is sparse but popped with bright colors, bold lines and a certain comic book flair that suits the show very well. Likewise, Alison Kingwell’s costumes are colorful and practical. Kiandra Brooks’s choreography isn’t complicated, but is very effective in promoting a feeling of unity from the cast. No one stuck out among the well-rounded whole, yet the characters managed to maintain their individuality.

There is a nice balance of audience interaction and immersion in this production, and the theatre’s black box configuration suits it well. Actors hide in the audience and pop up to share some loot (candy and T-shirts!) for a bit of fun, or hand out cards with examples of just what “happiness is”—building rapport with the audience, and reinforcing the heartfelt messages that the musical so excels at. It’s rare to experience a play that moves so close to its audience, both physically and emotionally.

If you’re feeling overwhelmed at the state of the world … if you’re tired of the cynicism and big complicated craziness of life … if you just need a good laugh … this is the show you need—to remind yourself that wisdom can come from the mouths of babes, that happiness is often small and ordinary (and no less important for all that), and that trying and trying and trying again always matters.

WHEN: November 6-16, 2025
WHERE: Frisco Disc. Ctr. (black box theatre), 8004 Dallas Pkwy., Frisco TX
WEB: cstheatreworks.com