You're a Good Man, Charlie Brown
In this production (which utilized the much-improved 1999 revised script & score), I was fortunate enough to play "Linus," the intellectual of the group.

For those of you unfamiliar with Charles Schulz's Peanuts comic strip (where've you been?), "Linus" is a wonderful character and truly a paradox. He can spout philosophy far beyond his years while depending on the comfort of his thumb and security blanket. He knows the true meaning of Christmas but still believes in the Great Pumpkin. I find it's incredibly helpful as an actor when a character is as well-developed as "Linus"; having multiple sides and lots of conflicting qualities. There's always something interesting to play and you can find lots of surprises. In this way, "Linus" was a goldmine.

I also had great fun finding ways to bring my blanket to life and to truly make him my partner. In my performances, the blanket played multiple roles for "Linus." From his confidant or playmate to his conscience or even his mischievous side. Though I've heard some actors (who've played "Linus") feel the blanket to be a hindrance (you have to carry it constantly), I came to feel that it was my greatest ally. To me, the blanket was so much more than just a prop.

In playing a role like this, you can't help but reach back into your past; to look at your "inner child" and re-explore your own childhood. This introspection was very helpful, particularly in playing "Linus."

Reading Peanuts was actually one of my first joys (that I can remember) as a child. I had very blond hair so initially I had a great fondness for the character "Schroeder" (the blonde, Beethoven-loving virtuoso). Once I learned to read though, my attentions turned to "Linus." I loved his intelligence, kind nature, philosophical outlook, the way he outsmarted his older sister and, of course, his creative uses of a blanket.

In part, "Linus" inspired me to become an avid reader and to even briefly carry a blanket. As I recall, one day, the strip featured "Linus" carrying a small case (which held his blanket among other things). This was clearly a better way to go so, at age five, I saved my money and made my first major purchase -- a briefcase. I used the case for years afterwards to carry books, comics and later, in college, paper and drawing supplies. I still have the case and a great interest in philosophy and learning. "Linus" obviously left his mark on me.

Okay, back to the play. YGMCB is a fun show to do but not without its challenges. Though the subject-matter is "light," we actors certainly couldn't relax or lose our focus. If you've ever seen this show, you know that it's made of up of dozens of independent short scenes and songs. As such, it takes real concentration to make sure you're where you need to be and what scene or song is coming up next. For the first couple of weeks we were all scrambling quickly to the other wing to make our next entrances. The harmonies in the revival score were also particularly challenging at times but I was quite fortunate to have patient and helpful partners.

With a small ensemble show such as this, the chemistry among the cast is crucial. I wasn't worried as I'd worked with four of the five other adults previously. The actor playing "Charlie Brown" (Jeff Vincent) happily fit in quite well and was a pleasure to work with, both on-stage and off.

We all enjoyed joking around backstage, often putting "adult" spins on our characters' innocent dialogue and names. As is sometimes the case, the show backstage can become just as interesting than the one the audience sees. Somehow I don't think that show would ever get licensed. As "Linus" would say, "Oh well, that's the way it goes!"