Campbelltown Theatre Group Inc’s You’re A Good Man, Charlie Brown proved how a simple concept with a clean execution can pack a punch.

The cast of six as a collective was outstanding, their chemistry tightly-knit under the vision of Director Georgee Glynn. This was most clear during transitions between scenes in Act One, which offered more opportunities for each character’s personality to shine. Whether it be the hyper-characterised way they walked across the stage or their over-exaggerated interactions with fellow cast members in the background, everyone brought a consistently high level of animation even when they weren’t in the spotlight. The success of this device made me wish it was used more in Act Two, as it was highly effective. This was a strong ensemble, whose clear characterisations helped first-time viewers of the show to follow along with what was happening, something that could have easily been missed given the show’s cartoony nature and vignette structure. Their united strength extended to the music – under the care of Music Director Matt Glynn, the cast sounded phenomenal together, even through their heavily-characterised voices.

Daniel Conway played the insecure but loveable Charlie Brown. As a less extreme character than the others in the show, it can be difficult getting the right balance of Charlie’s softness against the bigger and louder world around him. Conway had a solid performance, with a good display of the character’s timidness, though there wasn’t a strong contrast of his happier moments against the quiet sadness and self-doubt, which are essential parts of what makes him relatable. His voice exhibited a nice mix of realness and cartoon, and while his higher notes and vocal belts weren’t the strongest of the cast, his performance was enjoyable.

Brendan Cascarino as Snoopy was an absolute highlight. His signature song ‘Suppertime’ was hinted at many times throughout the show, and the increasing anticipation only heightened the payoff once the song finally arrived, being a standout performance. A seasoned showman, Cascarino was animated and explosive, with an arsenal of impressive dance moves. Choreographer Kirsten Jowsey deserves recognition here as well, with direction that was a great fit for the style and well-suited to the performers’ talent levels.

Lucy Van Pelt was played by the wonderfully grating Bernadette Glynn. Her voice was the perfect combination of sickly sweetness and gravelly rasp for this bully of a character. The bullying energy itself was somewhat downplayed though, with the character not getting quite as much of a kick out of being mean to Charlie Brown as she usually does. Nevertheless, she was very entertaining.

Rainer Smith was dynamic in his performance as Linus Van Pelt. Despite being the youngest member of the cast, Smith displayed a wealth of talent. He knew every beat of his character, when to go big and what the right energy was for every scene. This was most evident in the contrast of the usual youthfulness and inexperience of the character against his profound philosophical presentation in ‘The Book Report’.

Emily Ailes as Sally Brown was always a joy on stage. Her solo performance of ‘My New Philosophy’ was funny, cute, and bouncy. Ailes was bubbly and had great comedic timing, perfectly embodying the attention-grabbing little sister to Charlie. She exhibited the most extreme of the inter-scene caricatures, with her robotic mannerisms and grid-like movements lending to the exaggerated comedy.

The pianist prodigy Schroeder was played by Conor Healy-Green. A more reserved character like Charlie, though more happy in his own company, Schroeder is distinct in that he often plays a more solitary role, and thus has less to fall back on than the other characters. While he began the show gradually coming out of his shell, Healy-Green took charge with his dramatic character turns in ‘The Book Report’ and his solo ‘Beethoven Day’.

The set design was another strong point, featuring colourful cartoon-y cubes that were used to build many different objects throughout the show, from seats to trees to a bus. This was a good example of how leaning into the show’s simple nature could yield strong creative results. Props and set pieces having black outlines that resembled cartoon drawings were true to the theme and drew us more into the comic strip world. This was to the credit of Director and Set Designer Georgee Glynn. The thoughtful use of the projections was also well-integrated in the scenes and weren’t distracting in the slightest, though it was a surprise to not see it utilised to showcase the world in ‘Little Known Facts’.

Overall, CTGI’s You’re A Good Man, Charlie Brown was enjoyable, charming, and handled with care. With standout performances, effective design choices, and an ensemble that clearly enjoyed sharing the stage, it was a well-executed piece of musical theatre.