From 'Peanuts' to 'Teenuts' Good grief! TheatreWorks does it again with 'Dog Sees God'
2007-03-02
Turning 40 usually evokes a crisis of spirit or purpose, but it seems that TheatreWorks New Milford is taking the big 4-0 in stride, demonstrating that, like the finest of wines, the company is only getting better with age.
That's a tad ironic given that the current production, the dark and clever satire "Dog Sees God: Confessions of a Teenage Blockhead," is focused on a group of adolescents. And not just any teens at that-these angst-ridden youngsters are, in fact, Charlie Brown and the rest of the "Peanuts" gang a decade after the days of yanked footballs, kite-eating trees and The Great Pumpkin.
As hinted at in the titular palindrome, things have darkened considerably for young "CB" (as he now styles himself, in part because this parodic work, was not authorized by the Charles M. Schultz estate and, as such, aliases are necessary). Given in the form of a letter read aloud to a perpetually unresponsive pen pal, the play's opening monologue sets the black comic tone as the introspective teen offers the first of many revelations-in this case how his beloved beagle has died after contracting rabies. The loss of his childhood pet triggers a need for CB to try to make sense of his world and of himself. Seeking answers, the teen reaches out to his friends, paving the way for our reintro4uction to the much-transformed, but ultimately still recognizable, characters.
Some of the heartiest laughs in this play come from the "Aha!" moments of recognition that a "The Doctor is In" doodle, a reference to a blanket or a reaction to a past nickname bring. So, to divulge too much about what befell Lucy, Linus and even Woodstock would be a disservice. Suffice to say that many adolescent archetypes, such as the wise stoner, the rage-fueled jock, the nerdy loner and the catty popular girl are represented, but with much more shading than allowed for by John Hughes, "Dawson's Creek" or any of the umpteenth horror films featuring these types of teens -as slasher fodder.
While Bert V. Royal's play works well enough as a sharp, skillful parody of the iconic comic strip, it also touches on the genuinely harrowing issues facing today's tweens and teens-everything from sexual identity and drug use, to eating disorders and the pressure to conform. Given that the play could be described as a slightly uneasy amalgam of the worlds of "Peanuts" and "Heathers," it is no surprise that the play engenders a full spectrum's worth of emotions from its audience, from delight to shock and from horror to compassion and hope*
The play is greatly served by a truly talented ensemble of actors, all of whom are barely older than the characters the)? portray-and they are astonishingly good.
As the engaging and sympathetic CB, Ben Grinberg is almost never offstage and, despite the considerable demands of his role, he never falters. He is riveting, particularly in the more poignant moments of; the production.
Equally masterful is Joe Russo's portrayal of Beethoven, a melancholic musician/high school outcast. Mr. Russo articulates physically the strong sense his character has of being hunted--at times hunching deep into his own body as if willing himself to become invisible to his fellow students. His is a deeply nuanced characterization.
Demonstrating superb comedic timing, John Stegmaier deservedly garners many laughs for his nonchalant but perceptive stoner philosopher Van, Rascally and wry, he is something of a scene-stealer-though he has competition in that department.
Once again shining brightly is Keilly Gillen McQuail, who was so memorably uproarious in last summer's "Urinetown" as the oversexed street urchin Little Sally. Vicious and vapid, her Tricia is a cartoonishly cruel ditz-a popular girl lacking scruples and brain cells. Ably abetted by Samantha Tuozzolo-herself a strong and engaging performer- as her slightly less catty and smarter cohort, Marcy, Ms. McQuail demonstrates once again that she is a gifted comedienne. The two are particularly spot on in a sequence set in the deepest circle of high school hell -- the cafeteria-where the two drunkenly cackle at the cleverness of their mocking commentary on their classmates
In her third consecutive Theatre Works production, Margaret Ann King as Van's Sister continues to reveal her range and power as a performer. Though she only has one scene in the play, it's a doozy, and Ms. King makes the most of it, bringing a sublimely sly and fierce lunacy to her characterization.
Joe Morris as an angry, germaphobic jerk of a jock and Devon McCorkle as the sweet and uncertain CB's Sister round out this impressive group.
In this particular Theatre Works production, the more senior adults are working their magic behind the scenes. As the structure of the play is more a series of vignettes than consecutive scenes-essentially reflecting the origin of the source material as stand-alone comic strips-it takes a capable hand to give the show flow and pacing. This production has that with the skilled direction of Susan Pettibone, who has also brought out the best in this young cast. Along with co-director Paula Anderson, Ms. Pettibone is also responsible for the costume design, which often provides clues to the character's early identities in the Schulz comic strip. Ms. Anderson also designed the effectively minimalist set.
It should be emphasized that, unlike the oft-performed regional theater chestnut "You're a Good Man, Charlie Brown," this is not a show for children. This is something far darker, far more audacious and far more contemporary. Apparently, it also may not be suitable for some more sensitive fans of the "Peanuts" comic, who may be quite upset by the fates that have befallen their beloved characters.
But this is a production for those who like their comedy pitch black and their parodies biting. Credit must go to the author with the fact that, for those who might be unfamiliar with "Peanuts," "Dog Sees God" works as a standalone play that is ultimately about the thorny quest for identity that all teens undergo.
Above all, this is yet another triumph for Theatre Works New Milford, proving that they still know who they are: A theater company that is unafraid to take risks and present off-beat material featuring talent of the highest caliber. There's absolutely no question of a mid-life crisis here.