Millman confesses that in junior high he played Schroeder. He brought his nine year old son to the show:
“Me: “So, how did you like it?”
Him: “I want to see it again. It’s maybe the best thing I’ve seen at Stratford ever.”
Brown begins her review with some criticism of the critics: “I’m astonished by the critical reaction to Stratford’s version of the musical based on Charles Schultz’s comic strip. Too big, too brassy, too much razzle-dazzle, is the general beef…The players are wonderful…”
Coulbourn’s not fond of the production but like others gives kudos to the cast: “Andrew Broderick’s Schroeder brings a bit of street cred to the ‘hood while staying down with Beethoven and as for Kevin Yee’s Linus, thankfully he’s just what he’s always been — wise beyond his years and utterly delightful.”
Nestruck writes Feore’s direction “runs rather roughshod over the existentialist bent of Schultz’s original strip,” confessing “I’ve always found You’re a Good Man, Charlie Brown slightly out-of-tune with the source material.”
“42nd Street is a resounding triumph – but The Pirates of Penzance and You’re A Good Man, Charlie Brown are feeble.” In contrast to other reviewers, Portman notes:”Patterson’s testosterone-driven Snoopy – swaggering macho raucousness – should be dispatched to the doghouse forthwith. This Snoopy is less an affirmation of canine lovability than an argument for neutering.
“The six young actors that director-choreographer Donna Feore has assembled for the work are nothing short of brilliant…Feore [achieves] a flawless balance in the show’s elements of dialogue, music and movement.”
Ouzounian crafts a creative form for his review, penning a letter from Charles M. Schulz, the author of the original Peanuts comic strips that inspired the musical You’re a Good Man, Charlie Brown, addressed to Des McAnuff, artistic director of the Stratford Festival.