By Case Koerner
In the world of musical theatre, there is a genre of shows that we like to call “dance shows.” They are shows like West Side Story, Cats, and Newsies whose names conjure up exciting images of impressive dancing, intricate movement, and jaw-dropping choreography.
You’re a Good Man, Charlie Brown is not a dance show. People don’t come to this musical expecting to see the Peanuts Gang flip or pirouette or grand jete, but that does not make the movement of the show any less important. In fact, choreographing an engaging show with only six total characters, who are adults, who are supposed to look like children, presents many choreographic challenges of its own.
Which is why I am over-the-moon to be co-choreographing the show with someone I have been a huge fan of for a while, Veronica Kravat. The idea of co-choreographing seemed daunting at first, especially since I was used to having complete creative control, but as soon as I heard Veronica was the other half of the team, any hesitancy vanished. Not only is she someone whose choreography I admire, but she’s someone I get along with and really enjoy. Working together has made this process less stressful and more productive. Together we get done in one hour what would take me two hours to do on my own. We also challenge each other, encourage each other, and most importantly, we listen to each other. Working with Veronica has shown me that two heads really are better than one!
And it is a good thing we have the power of two, because working on You’re a Good Man, Charlie Brown has forced me to stretch my mind choreographically. Sure, there is not be a ballet dream sequence to choreograph and with a cast of six there will not be any complicated formation changes, but the dancing in this show requires a specific quality of movement. The characters are all supposed to be little kids, which greatly influences the decision-making when choreographing. With this specific show, Veronica and I have an additional task on our hands. Through dance, we want to help the audience sustain their disbelief for a couple of hours and see these dancing and singing adults as little children. Part of it is simplifying the choreography. While the movement is certainly going to be less complicated than West Side Story or Newsies, there has to be a balance between simple and boring. This poses another task for us: making the choreography doable and character-appropriate, yet still keeping it dynamic and entertaining. Veronica and I have worked hard to make sure the choreography is more than just a row of jazz-squares and grape-vines, and it certainly has not been easy. There have been times when both of us just wish we could toss out the kiddish-characterization and just have them kick and turn and leap, but at the end of the day, sometimes a jazz-square is the perfect fit for a song. After all, if they really were children in a dance class, jazz-sqaures and pivot turns would make up the bulk of what they would be learning anyway. I really think we have found that balance of simple yet exciting, which will help the audience fall in love with the Peanuts Gang even more.
Working on Acting Out’s You’re a Good Man, Charlie Brown, has been a wonderful experience that has stretched me in a few valuable ways. I am approaching choreography and dance in a new way, and I am working in tandem with someone I really appreciate and admire! Most of all, I feel lucky to be contributing to such a sweet and light-hearted show. From “Suppertime” to “The Baseball Game” to “Beethoven Day,” You’re a Good Man, Charlie Brown will give the audience something to dance along to.
Tickets go on sale June 1
and are available at King Music in Bradey, Joy’s Hallmark in Kankakee and HERE!