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Picaresque novel
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"Picaresque" redirects here. For the album by the Decemberists, see Picaresque (album).
The picaresque novel (Spanish: picaresca, from pícaro, for "rogue" or "rascal") is a genre of prose fiction that depicts the adventures of a roguish hero of low social class who lives by their wits in a corrupt society. Picaresque novels typically adopt a realistic style, with elements of comedy and satire. This style of novel originated in Spain in 1554 and flourished throughout Europe for more than 200 years, though the term "picaresque novel" was only coined in 1810. It continues to influence modern literature.
In the English-speaking world, the term "picaresque" is used more loosely and can simply refer to an episodic recounting of the adventures of an anti-hero on the road.
Contents
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1 Defined
2 Etymology
3 History
3.1 Lazarillo de Tormes and its sources
3.2 16th and 17th centuries
3.3 18th and 19th centuries
3.4 20th and 21st centuries
4 See also
5 Notes
6 References
7 Further reading
8 External links
Defined[edit]
According to the traditional view of Thrall and Hibbard (first published in 1936), seven qualities distinguish the picaresque novel or narrative form, all or some of which an author may employ for effect:[1]
A picaresque narrative is usually written in first person as an autobiographical account.
The main character is often of low character or social class. They get by with wit and rarely deign to hold a job.
There is no plot. The story is told in a series of loosely connected adventures or episodes.
There is little if any character development in the main character. Once a pícaro, always a pícaro. Their circumstances may change but they rarely result in a change of heart.
The pícaro's story is told with a plainness of language or realism.
Satire is sometimes a prominent element.
The behavior of a picaresque hero or heroine stops just short of criminality. Carefree or immoral rascality positions the picaresque hero as a sympathetic outsider, untouched by the false rules of society.
Etymology[edit]
The word pícaro first starts to appear in Spain with the current meaning in 1545, though at the time it had no association with literature.[2] The word pícaro does not appear in Lazarillo de Tormes (1554), the novella credited by modern scholars with founding the genre. The expression picaresque novel was coined in 1810.[3][4] Whether it has any validity at all as a generic label in the Spanish sixteenth and seventeenth centuries—and Cervantes certainly used "picaresque" with a different meaning than it has today—has been called into question. There is an unending campaign within Hispanic studies about what the term means, or meant, and which works were, or should be, so called. The only work clearly called "picaresque" by its contemporaries was Mateo Alemán's Guzmán de Alfarache (1599), which to them was the Libro del pícaro (The Book of the Pícaro).[5]
History[edit]
Lazarillo de Tormes and its sources[edit]
While elements of Chaucer and Boccaccio have a picaresque feel and may have contributed to the style,[6] the modern picaresque begins with Lazarillo de Tormes,[7] which was published anonymously in 1554 in Burgos, Medina del Campo, and Alcalá de Henares in Spain, and also in Antwerp, which at the time was under Spanish rule as a major city in the Spanish Netherlands. It is variously considered either the first picaresque novel or at least the antecedent of the genre.
The protagonist, Lázaro, lives by his wits in an effort to survive and succeed in an impoverished country full of hypocrisy. As a pícaro character, he is an alienated outsider, whose ability to expose and ridicule individuals compromised with society gives him a revolutionary stance.[8] Lázaro states that the motivation for his writing is to communicate his experiences of overcoming deception, hypocrisy, and falsehood (engaño).[9]
The character type draws on elements of characterization already present in Roman literature, especially Petronius' Satyricon. Lázaro shares some of the traits of the central figure of Encolpius, a former gladiator,[10][11] though it is unlikely that the author had access to Petronius' work.[12] From the comedies of Plautus, Lazarillo borrows the figure of the parasite and the supple slave. Other traits are taken from Apuleius's The Golden Ass.[10] The Golden Ass and Satyricon are rare surviving samples of the "Milesian tale", a popular genre in the classical world, and were revived and widely read in Renaissance Europe.
The principal episodes of Lazarillo are based on Arabic folktales that were well-known to the Moorish inhabitants of Spain. The Arabic influence may account for the negative portrayal of priests and other church officials in Lazarillo.[13] Arabic literature, which was read widely in Spain in the time of Al-Andalus and possessed a literary tradition with similar themes, is thus another possible influence on the picaresque style. Al-Hamadhani (d.1008) of Hamadhan (Iran) is credited with inventing the literary genre of maqamat in which a wandering vagabond makes his living on the gifts his listeners give him following his extemporaneous displays of rhetoric, erudition, or verse, often done with a trickster's touch.[14] Ibn al-Astarkuwi or al-Ashtarkuni (d.1134) also wrote in the genre maqamat, comparable to later European picaresque.[15]
The curious presence of Russian loan-words in the text of the Lazarillo also suggests the influence of medieval Slavic tales of tricksters, thieves, itinerant prostitutes, and brigands, who were common figures in the impoverished areas bordering on Germany to the west. When diplomatic ties to Germany and Spain were established under the emperor Charles V, these tales began to be read in Italian translations in the Iberian Peninsula.[16]
As narrator of his own adventures, Lázaro seeks to portray himself as the victim of both his ancestry and his circumstance. This means of appealing to the compassion of the reader would be directly challenged by later picaresque novels such as Guzmán de Alfarache (1599/1604) and the Buscón (composed in the first decade of the 17th century and first published in 1626) because the idea of determinism used to cast the pícaro as a victim clashed with the Counter-Reformation doctrine of free will.[17]
16th and 17th centuries[edit]
Title page of the book Guzmán de Alfarache (1599)
The autobiography of Benvenuto Cellini, written in Florence beginning in 1558, also has much in common with the picaresque. Another early example is Mateo Alemán's Guzmán de Alfarache (1599), characterized by religiosity. Guzmán de Alfarache is a fictional character who lived in San Juan de Aznalfarache, Seville, Spain.
Francisco de Quevedo's El buscón (1604 according to Francisco Rico; the exact date is uncertain, yet it was certainly a very early work) is considered the masterpiece of the subgenre by A. A. Parker, because of his baroque style and the study of the delinquent psychology. However, a more recent school of thought, led by Francisco Rico, rejects Parker's view, contending instead that the protagonist, Pablos, is a highly unrealistic character, simply a means for Quevedo to launch classist, racist and sexist attacks. Moreover, argues Rico, the structure of the novel is radically different from previous works of the picaresque genre: Quevedo uses the conventions of the picaresque as a mere vehicle to show off his abilities with conceit and rhetoric, rather than to construct a satirical critique of Spanish Golden Age society.
Miguel de Cervantes wrote several works "in the picaresque manner, notably Rinconete y Cortadillo (1613) and El coloquio de los perros (1613; “Colloquy of the Dogs”)". "Cervantes also incorporated elements of the picaresque into his greatest novel, Don Quixote (1605, 1615)",[18] the "single most important progenitor of the modern novel", that M. H. Abrams has described as a "quasi-picaresque narrative".[19]
In order to understand the historical context that led to the development of these paradigmatic picaresque novels in Spain during the 16th and 17th centuries, it is essential to take into consideration the circumstances surrounding the lives of conversos, whose ancestors had been Jewish, and whose New Christian faith was subjected to close scrutiny and mistrust.[20]
In other European countries, these Spanish novels were read and imitated. In Germany, Grimmelshausen wrote Simplicius Simplicissimus (1669), the most important of non-Spanish picaresque novels. It describes the devastation caused by the Thirty Years' War. Le Sage's Gil Blas (1715) is a classic example of the genre,[21] which in France had declined into an aristocratic adventure.[citation needed] In Britain, the first example is Thomas Nashe's The Unfortunate Traveller (1594) in which a court page, Jack Wilson, exposes the underclass life in a string of European cities through lively, often brutal descriptions.[22] The body of Tobias Smollett's work, and Daniel Defoe's Moll Flanders (1722) are considered picaresque, but they lack the sense of religious redemption of delinquency that was very important in Spanish and German novels. The triumph of Moll Flanders is more economic than moral.
The classic Chinese novel Journey to the West is considered to have considerable picaresque elements. Having been written in 1590, it is contemporary with much of the above—but is unlikely to have been directly influenced by the European genre.
18th and 19th centuries[edit]
In the English-speaking world, the term "picaresque" has referred more to a literary technique or model than to the precise genre that the Spanish call picaresco.
The English-language term can simply refer to an episodic recounting of the adventures of an anti-hero on the road. Thomas Nashe's novel The Unfortunate Traveller is often cited as one of the earliest examples of an English picaresque novel.[23] Henry Fielding proved his mastery of the form in Joseph Andrews (1742), The Life and Death of Jonathan Wild, the Great (1743) and The History of Tom Jones, a Foundling (1749), though Fielding attributed his style to an "imitation of the manner of Cervantes, author of Don Quixote".[24] Voltaire's French novel Candide (1759) contains elements of the picaresque. An interesting variation on the tradition of the picaresque is The Adventures of Hajji Baba of Ispahan (1824), a satirical view on early 19th-century Persia, written by a British diplomat, James Morier.
Elements of the picaresque novel are found in Charles Dickens’s The Pickwick Papers (1836–37).[23]
Gogol occasionally used the technique, as in Dead Souls (1842–52).[25] Mark Twain's Adventures of Huckleberry Finn (1884) was consciously written as a picaresque novel.[23]
20th and 21st centuries[edit]
Rudyard Kipling's Kim (1901) combined the influence of the picaresque novel with the modern spy novel. Pío Baroja's novel Zalacain the Adventurer, published in 1909, used the picaresque format in the context of the Carlist Wars. The illustrated book The Magic Pudding (1918), by Australian author Norman Lindsay, is an example of the picaresque adapted for children's literature.
Statue of Ostap Bender in Elista
The Enormous Room is E. E. Cummings' 1922 autobiographical novel about his imprisonment in France during World War I on unfounded charges of "espionage", and it includes many picaresque depictions of his adventures as "an American in a French prison". Jaroslav Hašek's The Good Soldier Švejk (1923) is an example of the picaresque technique from Central Europe.
Kvachi Kvachantiradze is a novel written by Mikheil Javakhishvili in 1924.This is, in brief, the story of a swindler, a Georgian Felix Krull, or perhaps a cynical Don Quixote, named Kvachi Kvachantiradze: womanizer, cheat, perpetrator of insurance fraud, bank-robber, associate of Rasputin, filmmaker, revolutionary, and pimp.
The Twelve Chairs (1928) and its sequel, The Little Golden Calf (1931), by Ilya Ilf and Yevgeni Petrov became classics of the 20th century Russian satire and basis for numerous film adaptations. J.B. Priestley made use of the form in his The Good Companions (1929) which won the James Tait Black Memorial Prize for Fiction. Many other novels of vagabond life were consciously written as picaresque novels, such as Henry Miller's Tropic of Cancer (1934).[citation needed].
Camilo José Cela's La familia de Pascual Duarte (1942). John A. Lee's Shining with the Shiner (1944) tells amusing tales about New Zealand folk hero Ned Slattery (1840–1927) surviving by his wits and beating the Protestant work ethic. Saul Bellow's The Adventures of Augie March (1953) is a picaresque novel with bildungsroman traits. So too is Thomas Mann's Confessions of Felix Krull (1954), which like many novels emphasizes the theme of a charmingly roguish ascent in the social order. George MacDonald Fraser's novels about Harry Flashman (1969) combine the picaresque with historical fiction. Günter Grass's The Tin Drum (1959) is a German picaresque novel.
Sergio Leone identified his spaghetti westerns, more specifically his Dollars trilogy (1964), as being in the picaresque style.
One might characterize the novels and stories of Dashiell Hammett and other hardboiled and noir fiction as picaresque, with some qualifications (e.g., the novels of Hammett are very tightly plotted).
Hunter S. Thompson's "gonzo journalism" (1970) can be seen as a hybrid of fictional picaresque with memoir and traditional reporting. The picaresque elements are especially prominent in Thompson's less journalistic, more literary and psychotropically themed works, such as, Fear and Loathing in Las Vegas (1971) and The Great Shark Hunt (1979).
Recent examples include Under the Net (1954) by Iris Murdoch,[26] Thomas Berger's Little Big Man (1964), Jerzy Kosinski's The Painted Bird (1965), Vladimir Voinovich's The Life and Extraordinary Adventures of Private Ivan Chonkin (1969), Rita Mae Brown's Rubyfruit Jungle (1973), John Kennedy Toole's A Confederacy of Dunces (1980), Bernard Cornwell's Sharpe series (1981–), Angela Carter's Nights at the Circus (1984), Isabel Allende's Eva Luna (1987), Edward Abbey's The Fool's Progress: An Honest Novel (1988), Helen Zahavi's Dirty Weekend (1991), C. D. Payne's Youth in Revolt (1993), Christian Kracht's Faserland (1995), Umberto Eco's Baudolino (2000),[27] Neal Stephenson's Quicksilver (2003), and Aravind Adiga's The White Tiger (Booker Prize 2008).[28]
William S. Burroughs was a devoted fan of picaresque novels, and gave a series of lectures involving the topic in 1979 at Naropa University in Colorado. In these he says it is impossible to separate the anti-hero from the Picaresque novel, that most of these are funny, and they all have protagonist who are outsiders by their nature. His list of picaresque novels includes Petronius' novel Satyricon (54-68 AD), The Unfortunate Traveller (1594) by Thomas Nashe, Under Western Eyes by Joseph Conrad (1911), both A Maiden Voyage (1943) and A Voice Through a Cloud (1950) by Denton Welch, Two Serious Ladies (1943) by Jane Bowles, Death on Credit (1936) by Louis-Ferdinand Céline, and even himself. He also relates a series of real life newspaper stories that Burroughs himself had collected, in which people abandoned their jobs in order to save their own skin; leaving numbers of people to die. [29]
Some science fiction and fantasy books also show a clear picaresque influence, transported to a variety of invented worlds—for example, The Dying Earth series of Jack Vance, Fritz Leiber's Fafhrd and the Gray Mouser, Harry Harrison's The Stainless Steel Rat series, James H. Schmitz's The Witches of Karres, and L. Sprague de Camp's Novarian series.[citation needed] The genre-bending fiction of Gene Wolfe combines strong elements of the picaresque with a catalog of other forms of fiction—bildungsroman, memoir, mythic poem, classical drama, modernist fiction, and others; this is the case particularly in his Book of the New Sun, the tale of Severian the Torturer's rise to the monarchy in a remote future world that is probably Earth.[citation needed] More recently, Scott Lynch's The Gentleman Bastard Sequence fantasy novels have been described as fine examples of the subgenre.[30] The SF/F roleplaying game Shadowrun is based on picaresque player characters in a corrupt dystopia.[31]
See also[edit]
Novels portal
Adventure novel
Becky Sharp (character)
Fool's literature
Maqama
Milesian tale
Notes[edit]
Jump up ^ Thrall, William and Addison Hibbard. A Handbook to Literature. The Odyssey Press, New York. 1960.
Jump up ^ Best, O. F. Para la etimología de pícaro, in Nueva Revista de Filología Hispánica, Vol. 17, No. 3/4 (1963/1964), pp. 352-357
Jump up ^ Merriam-Webster's collegiate dictionary By Merriam-Webster, Inc p.936
Jump up ^ Spanish loanwords in the English language: a tendency towards hegemony reversal By Félix Rodríguez González p.36
Jump up ^ Daniel Eisenberg, "Does the Picaresque Novel Exist?", Kentucky Romance Quarterly, 26, 1979, pp. 203-219, http://users.ipfw.edu/jehle/deisenbe/Other_Hispanic_Topics/does_the_picaresque.pdf, retrieved 2014-08-30
Jump up ^ Seán Ó Neachtain (2000). The History of Éamon O'Clery. Clo Iar-Chonnacht. p. 6. ISBN 978-1-902420-35-6. Retrieved 30 May 2013.
Jump up ^ Harriet Turner; Adelaida L Pez De Mart Nez (11 September 2003). The Cambridge Companion to the Spanish Novel: From 1600 to the Present. Cambridge University Press. p. 15. ISBN 978-0-521-77815-2. Retrieved 30 May 2013.
Jump up ^ Cruz, Anne J. (2008). Approaches to teaching Lazarillo de Tormes and the picaresque tradition. p.19 ("The pícaro's revolutionary stance, as an alienated outsider who nevertheless constructs his own self and his world").
Jump up ^ Textual confrontations: comparative readings in Latin American literature by Alfred J. Mac Adam, p.138
^ Jump up to: a b Chaytor, Henry John (1922)La vida de Lazarillo de Tormes p.vii
Jump up ^ The life of Lazarillo de Tormes: his fortunes and adversities (1962) p.18
Jump up ^ Martin, René (1999) Le Satyricon: Pétrone p.105
Jump up ^ Fouad Al-Mounir, "The Muslim Heritage of Lazarillo de Tormes," The Maghreb Review vol. 8, no. 2 (1983), pp. 16-17.
Jump up ^ James T. Monroe, The art of Badi'u 'l-Zaman al-Hamadhani as picaresque narrative (American University of Beirut c1983).
Jump up ^ James T. Monroe, translator, Al-Maqamat al-luzumiyah, by Abu-l-Tahir Muhammad ibn Yusuf al-Tamimi al-Saraqus'i ibn al-Astarkuwi (Leiden: Brill 2002).
Jump up ^ S. Rodzevich, "K istorii russkogo romantizma", Russky Filologichesky Vestnik, 77 (1917), 194-237 (in Russian).
Jump up ^ Boruchoff, David A: “Free Will, the Picaresque, and the Exemplarity of Cervantes’s Novelas ejemplares,” M L N [Modern Language Notes] 124, 2 (2009), pp. 372-403.
Jump up ^ "Picaresque", Britannica online [1]
Jump up ^ A Glossary of Literary Terms (7th edition, Harcourt Brace, 1985, p. 191
Jump up ^ For an overview of scholarship on the role of conversos in the development of the picaresque novel in 16th- and 17th-century Spain, see Yael Halevi-Wise, “The Life and Times of the Pícaro Converso from Spain to Latin America” in Sephardism: Spanish Jewish History in the Modern Literary Imagination (Stanford UP, 2011)
Jump up ^ Paulson, Ronald Reviewed work(s): Rogue's Progress: Studies in the Picaresque Novel by Robert Alter, The Journal of English and Germanic Philology, Vol. 64, No. 2 (Apr., 1965), p.303
Jump up ^ Schmidt, Michael. The Novel: A Biography'. Cambridge:Belknap Press. 2014.'
^ Jump up to: a b c "Picareque", Britannica online.
Jump up ^ The title page of the first edition of Joseph Andrews lists its full title as: The History of the Adventures of Joseph Andrews, and of His Friend Mr. Abraham Adams. Written in Imitation of the Manner of Cervantes, Author of Don Quixote.
Jump up ^ Striedter, Jurij. Der Schelmenroman in Russland: Ein Beitrag zur Geschichte des Russischen Romans vor Gogol, Berlin 1961
Jump up ^ Chosen by Time magazine and Modern Library editors as one of the greatest English-language novels of the 20th century. See Under the Net.
Jump up ^ As expressed by the author "With Baudolino, Eco Returns to Romance Writing". The Modern News. 11 September 2000. Archived from the original on 6 September 2006.
Jump up ^ Sanderson, Mark (4 November 2003). "The picaresque, in detail". Telegraph (UK). Retrieved March 16, 2010.
Jump up ^ NewThinkable (7 March 2013). "Class On Creative Reading - William S. Burroughs - 2/3". Retrieved 14 March 2018 – via YouTube.
Jump up ^ Krake, Kate (23 January 2012). "The Lies of Locke Lamora by Scott Lynch(2006)- Book Review". Pop Cultured. Retrieved March 14, 2012.
Jump up ^ Pollotta, Nicholas (1997). Shadowboxer. Fanpro LLC. ISBN 978-0451456281. Two Bears, the dwarf mercenary, sees an easy way to make some cash in the search for the secrets behind IronHell, a force that threatens to unhinge the world, until he finds himself in a picaresque urban jungle.
References[edit]
Parker, Alexander Augustine (1967). Literature and the delinquent : the picaresque novel in Spain and Europe, 1599-1753. Norman Maccoll lecture. Edinburgh: Edinburgh University Press. OCLC 422136249.
Cruz, Anne J. (2008). Approaches to teaching Lazarillo de Tormes and the picaresque tradition. Modern Language Association of America. ISBN 978-1-60329-016-6.
Further reading[edit]
Robert Alter (1965) Rogue's progress: studies in the picaresque novel
Garrido Ardila, Juan Antonio El género picaresco en la crítica literaria, Madrid, Biblioteca Nueva, 2008.
Garrido Ardila, Juan Antonio La novela picaresca en Europa, Madrid, Visor libros, 2009.
Meyer-Minnemann, Klaus and Schlickers, Sabine (eds) La novela picaresca: Concepto genérico y evolución del género (siglos XVI y XVII), Madrid, Iberoamericana, 2008.
Norman M. Klein and Margo Bistis, The Imaginary 20th Century, Karlsruhe, ZKM: Center for Art and Media, 2016. http://imaginary20thcentury.com
External links[edit]
Media related to Picaresque novel at Wikimedia Commons
El Género Picaresco: La Novela Picaresca Española y Su Influencia (in Spanish)
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The Wally
From Wikipedia, the free encyclopedia
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This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (March 2010) (Learn how and when to remove this template message)
The Wally is the trophy awarded to winners of an NHRA national event. They have been handed out at national events starting with the 1969 NHRA race season. With an antique brass plating over a standard metal mix and a solid walnut base, the "Wally" (named after NHRA founder Wally Parks) is 18 inches tall and weighs 12 pounds. Contrary to popular belief, the Wally trophy does not feature Parks himself, but is rather modeled after Top Gas racer Jack Jones.[1] Jerry Gordon The origin of the photo is interesting. According to the June 30, 1995 edition of National Dragster, the story goes that in early 1969, Jack Jones was at his day job, and got a call from Wally Parks. Parks asked him if he would be willing to pose for pictures for a trophy at Pomona Raceway. Pomona is a 16 minute ride from Glendora where the NHRA is based. Jack agreed and a number of pictures were snapped, including the now iconic photo of him with his equipment and a tire. Later that year, the famous Wally trophy was introduced. It is perfect because it is still the same design as in 1969. It does not evolve because it does not have to.
Contents
[hide]
1 Background
2 Variations
3 Most victories
4 References
Background[edit]
The NHRA was formed by Wally Parks in 1951 in an effort to promote the sport of drag racing while keeping young people from racing on local roads. The first national event was held in 1955 in Great Bend, Kansas on an abandoned air strip.[2] The first national event winner in the NHRA was 25-year-old Calvin Rice of Santa Ana, CA.[3]
In the June 30, 1995 issue of National Dragster, Jack Jones said, "Believe it or not, Wally Parks called me at my job and asked if I’d do him a favor, pose for pictures that would be used as models for the trophy." The Wally was modeled after the images taken of Jones during a photo shoot at Pomona Raceway in California in 1969.[4]
Variations[edit]
Variations of the Wally exist for other special purposes. Some of which include the NHRA Lucas Oil Drag Racing Series Wally, a scaled-down replica of the national event Wally. The NHRA National Dragster Challenge Wally, awarded to NHRA Summit Series E.T. Bracket racers, is the same size as the Lucas Oil Drag Racing Series Wally but with a pewter finish. Beginning in 1994, a full scale Wally with a square base was first awarded to NHRA Junior Drag Racing League national champions. A variety of special awards including plaques and glass etched trophies integrate the image of the Wally.
Most victories[edit]
The table below outlines the drivers with the most NHRA national event victories in professional and sportsman categories. (As of Jan 22, 2017)
Driver
National Event Wins
John Force 147
Frank Manzo* 105
Dan Fletcher 100
Warren Johnson 97
David Rampy 92
Greg Anderson 86
Bob Glidden* 85
Tony Schumacher 82
Jeg Coughlin Jr. 76
Pat Austin* 75
Kenny Bernstein* 69
Larry Dixon 62
Antron Brown 61
Joe Amato* 57
Peter Biondo 50
Bob Newberry* 50
Ron Capps 50
Don Prudhomme* 49
Edmond Richardson 48
Andrew Hines 47
Jason Line 47
Dave Schultz* 45
Jeff Taylor 44
Gary Scelzi* 43
Tony Pedregon* 43
* Denotes retired or inactive drivers
References[edit]
"The Wally: Drag racing's most prestigious trophy" “NHRA.com” retrieved January 22, 2017
"NHRA, Kansas remember first national event" "NHRA.com", May 25, 2001, retrieved February 25, 2010
"First National Championship Drags is highlight of tremendous 1955 season" "NHRA.com", retrieved February 25, 2010
"Jack Jones", retrieved February 27, 2017
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You're a Good Man, Charlie Brown
From Wikipedia, the free encyclopedia
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This article is about the stage musical. For the 1985 animated television adaptation, see You're a Good Man, Charlie Brown (TV special).
You're a Good Man, Charlie Brown
1971 Broadway poster for the John Golden Theatre
Music
Clark Gesner
Lyrics
Clark Gesner
Book
John Gordon
Basis
Charles M. Schulz's comic strip Peanuts
Productions
1967 Off-Broadway
1968 West End
1970 U.S. Tour
1971 Broadway
1998 U.S. Tour
1999 Broadway revival
2008 Manhattan
2016 Off-Broadway revival
Awards
1967 Outer Critics Circle Award for Best Production
1999 Drama Desk Award for Outstanding Revival of a Musical
You're a Good Man, Charlie Brown is a 1967 musical comedy with music and lyrics by Clark Gesner, based on the characters created by cartoonist Charles M. Schulz in his comic strip Peanuts. The musical has been a popular choice for amateur theatre productions because of its small cast and simple staging.[1]
Contents
1 Background
2 History
3 Productions
3.1 Original New York productions and U.S. tour
3.2 1968 West End premiere
3.3 1998 U.S. tour and 1999 Broadway revival
3.4 2008 Manhattan benefit concert
3.5 2016 Off-Broadway revival
4 Synopsis (1999 version)
4.1 Act I
4.2 Act II
5 Songs
6 Instrumentation
7 Casts
8 Response
9 Awards and nominations
9.1 Original Off-Broadway Production
9.2 1999 Broadway Revival
10 Adaptations
11 See also
12 References
13 External links
Background[edit]
John Gordon was credited with the book of the show, but according to Gesner's foreword in the published script, "John Gordon" is a collective pseudonym that covers Gesner, the cast members, and the production staff, all of whom worked together to assemble the script.[2]
History[edit]
During the early 1960s, Gesner had begun writing songs based on Schulz's Peanuts characters, but was unable to get permission from the United Features Syndicate to use the characters in his songs. Eventually Gesner sent Schulz a tape of some of the songs and Gesner soon had permission to record them, which he did in 1966.[3] Orson Bean sang the role of Charlie Brown, Clark Gesner sang Linus, Barbara Minkus sang Lucy, and Bill Hinnant sang Snoopy (he reprised his role in the Off-Broadway production).
At the time, Gesner had no plans for a musical based on this pre-production "concept album". However, producer Arthur Whitelaw, who would later go on to write another musical based on Peanuts, encouraged Gesner to turn the album into a musical.[4]
The stage adaptation of the concept album, titled You're a Good Man, Charlie Brown, went into rehearsal in New York City on February 10, 1967.[5] Prior to its opening, the musical had no actual libretto; it was several vignettes with a musical number for each one.[5]
Productions[edit]
Original New York productions and U.S. tour[edit]
On March 7, 1967, the musical premiered off-Broadway at Theatre 80 in the East Village, featuring Gary Burghoff as Charlie Brown, Skip Hinnant as Schroeder, Reva Rose as Lucy, Bob Balaban as Linus, Karen Johnson as Patty (an early Peanuts character not to be confused with Peppermint Patty), and Bill Hinnant as Snoopy.[6][7] Joseph Hardy directed and choreographer Patricia Birch was billed as "Assistant to the Director". Joe Raposo, later of Sesame Street fame, was billed as "Music Director" and composer of incidental music for the show. This production of You're A Good Man, Charlie Brown lasted 1,597 performances, closing on February 14, 1971.[8][9][10]
The off-Broadway cast recording, originally released on MGM Records, was later remastered by Decca Broadway/Universal Classics and re-released on September 31, 2000.[11]
A Broadway production opened at the John Golden Theatre on June 1, 1971, and closed on June 27, 1971, after 32 performances and 15 previews. Directed by Joseph Hardy and with choreography by Patricia Birch, the new cast consisted of Carter Cole as Schroeder, Grant Cowan as Snoopy, Stephen Fenning as Linus, Liz O'Neal as Lucy, Dean Stolber as Charlie Brown, and Lee Wilson as Patty.[12] In addition to the Broadway production, the success of the off-Broadway production spawned nine United States touring companies, playing in such cities as Chicago; Los Angeles; Altoona; Washington, D.C.; and San Francisco.[5] A 1970 U.S. tour lasted 202 performances on the road.[13]
“ None of the cast is actually six years old. And they don't really look like Charles Schulz' "Peanuts" cartoon characters. But this doesn't seem to make that much difference once we are into the play, because what they are saying to each other is with the openness of that early childhood time, and the obvious fact is that they are all really quite fond of each other.[14] ”
— Clark Gesner
1968 West End premiere[edit]
The musical opened in the West End in London on February 1, 1968, produced by Harold Fielding.[15] It played at the Fortune Theatre for 116 performances.[16][17]
1998 U.S. tour and 1999 Broadway revival[edit]
A U.S. tour began on November 18, 1998, in Skokie, Illinois.[18] The tour was expected to become a full-scale revival to open at the Longacre Theatre on Broadway, but was moved to the Ambassador Theatre after Bring in 'Da Noise, Bring in 'Da Funk's closing.[19] This revival opened on February 4, 1999, and closed on June 13, 1999, having played only 14 previews and 149 performances.[20] It featured new dialogue by Michael Mayer, who also directed, and additional songs and orchestration written by Andrew Lippa; choreography was by Jerry Mitchell and sets by David Gallo, Mayer's frequent collaborator.
In this revival, the character of Patty was replaced with Sally Brown.[21] The cast featured Anthony Rapp as Charlie Brown, B.D. Wong as Linus, Ilana Levine as Lucy, and Stanley Wayne Mathis as Schroeder. Also featured were Kristin Chenoweth and Roger Bart as Sally and Snoopy, with each winning the Tony award in the respective category. The revival closed on Broadway one week later.
The original Broadway revival recording was released by RCA Victor/BMG on March 9, 1999.[22]
2008 Manhattan benefit concert[edit]
On December 15, 2008, a one-night-only benefit performance of Charlie Brown was staged at the Gerald W. Lynch Theater at John Jay College in Manhattan for the Make-A-Wish Foundation, directed by David Lefkowich.[23] The cast featured Morgan Karr as Charlie Brown, David Larsen as Schroeder, Tom Deckman as Snoopy, Matt Crowle as Linus, Carmen Ruby Floyd as Lucy, and Kenita R. Miller as Sally.[24]
2016 Off-Broadway revival[edit]
In 2016 it had been announced that there was going to an off-Broadway revival of You're a Good Man, Charlie Brown, using some of the young stars of Broadway. The six-member “Peanuts” gang featured Joshua Colley as Charlie Brown, Gregory Diaz as Schroeder, Aidan Gemme as Snoopy, Milly Shapiro as Sally, Mavis Simpson-Ernst as Lucy, and Jeremy T. Villas as Linus. Graydon Peter Yosowitz played the role of Charlie Brown from June 1-7. The show ran from May 24 – June 26, 2016.
Synopsis (1999 version)[edit]
Act I[edit]
Charlie Brown stands alone as his friends give their various opinions of him, each overlapping the other. Today everyone is calling him a "good man". Charlie Brown is happy and hopeful as usual, but he nevertheless wonders if he really is what they say. He decides to find out how he can really become a good person ("Opening/You're A Good Man, Charlie Brown").
Alone one day, during lunch, Charlie Brown talks about his bad days. Then he notices the Little Red-Haired Girl and decides to go sit with her. However, he cannot find the courage to do so.
Lucy expresses her deep infatuation with Schroeder and asks him what he thinks of the idea of marriage. Schroeder is aware of her feelings, but remains aloof as he plays his piano. Lucy then exclaims: "My Aunt Marion was right. Never try to discuss marriage with a musician" ("Schroeder"). Sally is sad because her jump rope tangled up.
Snoopy is lying on top of his doghouse, relaxing vacantly and peacefully. He begins to daydream about being a wild jungle beast. In a few minutes, however, he is back to his peaceful state ("Snoopy"). Linus enters, holding his blanket and sucking his thumb. Lucy and Sally show up and mock him for this habit. Linus decides to abandon his blanket and move on, only to come running back to it in desperation. After the girls leave, Linus daydreams of a blanket fantasy where everyone can relax with their blankets ("My Blanket and Me"). Lucy later tells him that she would someday like to be a queen. However, Linus tells her that she can't and she threatens to punch him. Sally gets a C for her pathetic coat-hanger sculpture.
Charlie Brown appears, trying to get his unusually stubborn kite to soar in the air. Eventually, he succeeds in doing this, and he enjoys a few minutes of triumph before the notorious Kite-Eating Tree eats it up ("The Kite"). After this trauma, Charlie Brown tries to find the right way to give The Little Red-Headed Girl her Valentine's Day card, but he ends up saying "Merry Christmas", making a fool out of himself. He goes to see Lucy, who is at her psychiatrist booth. He tells her all the things he thinks of himself. Lucy then clears it up by saying that Charlie Brown is unique the way he is, then asks for the five cent price ("The Doctor Is In"). Later, Charlie Brown sees a happy Schroeder spreading the word of Beethoven's birthday and pulling together a celebration. He and company join Schroeder in the song of jubilation ("Beethoven Day").
At noon, Linus, Lucy, Schroeder, and Charlie Brown are working on their Peter Rabbit book reports, each in his or her own way. Lucy is simply babbling to fit the 100-word requirement, Schroeder is doing a "comparison" between the book and Robin Hood, Linus is doing an overcomplicated psychological analysis, and Charlie Brown hasn't even started out of worry, while Sally and Snoopy chase rabbits ("The Book Report").
Act II[edit]
Snoopy, in his World War I flying ace uniform climbs atop his doghouse. He goes through a scene, with him being a pilot searching for the Red Baron. In his imagination, he is defeated by the Red Baron and returns to the aerodrome in France.
Sally is clearly cross about a D her teacher gave her on her homework assignment. In response, she says, "Oh, yeah? That's what you think!" Schroeder hears and asks why Sally is telling him that. It quickly becomes Sally's new "philosophy", and she bursts into song about her philosophies. Schroeder, after failing to explain to her how philosophies work, leaves in bafflement while Sally continues ("My New Philosophy").
Charlie Brown returns, and, with his friends, plays the Little League Baseball Championship. After some mishaps, the team finally manages to make some progress. Charlie Brown steps up to the plate, and despite his valiant efforts, strikes out and loses the game. We learn that this was a flashback, and Charlie Brown expresses his deep sorrow to his pen pal ("T-E-A-M (The Baseball Game)"). Lucy takes a crabbiness survey and Linus says that her crabbiness rating is ninety-five. After punching him, she realizes that she, in reality, is really very crabby.
Determined not to let what happened at the championship bother him, Charlie Brown decides to join Schroeder's Glee Club and cheer up by singing "Home on the Range" with his friends. Unfortunately, a fight ensues between Lucy and Linus over a pencil. The fight spreads, and Charlie Brown decides to leave with his angry friends, leaving Schroeder and Snoopy the only ones singing ("Glee Club Rehearsal").
Later, Charlie Brown comes across Lucy teaching Linus about nature the way she views it with such as bugs pulling the grass to make it grow or snow growing out of the ground in winter. Charlie Brown tries to correct her, but she retaliates with a false explanation, and Charlie Brown bangs his head against a tree in frustration ("Little Known Facts"). That evening, Snoopy complains that he hasn't been fed yet, and begins to overcomplicate and dramaticize the matter until Charlie Brown shows up with his dinner. Snoopy bursts into song about his craving for supper until Charlie Brown firmly tells him to eat his meal ("Suppertime").
That night, Charlie Brown is still sad that he has not discovered what it means to be a "good man", then he discovers a pencil which has been dropped by the Little Red-Haired Girl (his perennial crush). As he examines it, he discovers that "there are teeth-marks all over it . . . she nibbles her pencil . . . she's HUMAN!" With that realization, he concludes that today hasn't been so bad, after all, and he's done a lot of things that make him happy. As Charlie Brown expresses what makes him happy, everyone, touched by his love of life, begin to express what makes them happy as well ("Happiness"). Right then, he realizes being a "good man" means trying your best and making the most of the things you've been given in life. As his other friends leave the stage, Lucy turns to him and puts out her hand, making him shrink back. As he reaches out, she shakes his hand firmly, then tells him, "You're a good man, Charlie Brown."
A medley of "Happiness" and "You're A Good Man, Charlie Brown" is performed as the cast comes out for a final curtain call.
Songs[edit]
Song list for the 1967 off-Broadway production
Act I
You're A Good Man, Charlie Brown – Company
Schroeder – Lucy
Snoopy – Snoopy
My Blanket and Me – Linus and Company
Queen Lucy – Lucy and Linus
The Kite – Charlie Brown
The Doctor is In (Dr. Lucy) – Lucy and Charlie Brown
The Book Report – Linus, Lucy, Schroeder, and Charlie Brown
Act II
The Red Baron – Snoopy
T-E-A-M – Charlie Brown and Company
Glee Club Rehearsal – Company
Little Known Facts – Lucy with Linus and Charlie Brown
Peanuts Potpourri – Snoopy and Company
Suppertime – Snoopy
Happiness – Company
Song list for the 1999 Broadway revival
Act I
Opening/You're A Good Man, Charlie Brown – Company
Schroeder – Lucy (sung over Beethoven's "Moonlight Sonata")
Snoopy – Snoopy
My Blanket and Me – Linus and Company
The Kite – Charlie Brown (optional company background)
The Doctor is In (Dr. Lucy) – Lucy and Charlie Brown
Beethoven Day – Schroeder and Company
The Book Report – Linus, Lucy, Schroeder, and Charlie Brown
Act II
My New Philosophy – Sally and Schroeder
T-E-A-M (The Baseball Game) – Charlie Brown and Company
Glee Club Rehearsal – Company (sung over "Home on the Range")
Little Known Facts – Lucy with Linus and Charlie Brown
Suppertime – Snoopy
Happiness – Company
Bows – Company (includes a partial reprise of "Happiness," and "You're a Good Man, Charlie Brown")
Song List from the 1966 Concept Album:
Side 1
You're a Good Man, Charlie Brown - Company
Dr. Lucy - Lucy and Charlie Brown
My Blanket and Me - Linus
Snoopy - Snoopy
Charlie's Kite - Charlie Brown
Side 2
The Baseball Game - Charlie Brown and Company
Little Known Facts - Lucy, Linus, and Charlie Brown
Schroeder - Lucy
Suppertime - Snoopy
Happiness - Company
Instrumentation[edit]
The instrumentation varies greatly and three kinds exist.
In the original Off-Broadway production, the instrumentation was simply a piano, a bass, and percussion. It can be heard on the original cast recording.
When Tams-Witmark acquired the rights to Charlie Brown, the orchestration was rewritten from the original version. The complete orchestration contained a piano, bass, guitar, percussion, five woodwind parts, two trumpets, horn, trombone, and strings. The piano player can also be doubled on celeste, toy piano, and melodica; the first woodwind plays flute and piccolo; the second is the second flute part; the third and fourth are the first and second clarinet parts respectively; the fifth on bass clarinet and tenor sax. Any guitar, horn, and string parts (excluding bass) were all optional.[25]
When Charlie Brown was brought back to Broadway in 1999, the orchestration was deeply revised, containing a five-piece orchestra that consisted of a piano, bass, percussion, a woodwind player, and a violinist. The piano player can double on keyboard synthesizer and kazoo; the bass player doubles on electric and acoustic bass, tenor recorder, and kazoo (in the original Broadway pit the bass player also doubled on acoustic and electric guitar); the woodwind part doubles on piccolo, flute, clarinet, soprano and alto sax, soprano recorder, and kazoo; the violin part also doubles on viola, alto recorder, kazoo, and tambourine. This version is also available through Tams-Witmark.[26]
Casts[edit]
Clark Gesner with director Joseph Hardy and the original 1967 cast of You're a Good Man, Charlie Brown
Character
Original Off-Broadway
Original Broadway
1999 Broadway Revival
2016 Off Broadway Revival
Charlie Brown
Gary Burghoff Dean Stolber Anthony Rapp Joshua Colley
Lucy van Pelt
Reva Rose Liz O'Neal Ilana Levine Mavis Simpson-Ernst
Linus van Pelt
Bob Balaban Stephen Fenning B. D. Wong Jeremy T. Villas
Sally Brown
N/A Kristin Chenoweth Milly Shapiro
Patty
Karen Johnson Lee Wilson N/A
Schroeder
Skip Hinnant Carter Cole Stanley Wayne Mathis Gregory Diaz
Snoopy
Bill Hinnant Roger Bart Aidan Gemme
Note: The character of "Sally" was added in the 1999 revival, replacing "Patty" from the original version. Sally was then used for the 2016 revival
Articles about the 1999 revision while it was in previews noted that the one difference between the original production and the 1999 version was that the latter reflected the increased ethnic diversity of casting over the decades that had passed, with Schroeder being played by an African American actor (Mathis) and Linus by an Asian American (Wong).[27][28][29]
Response[edit]
The off-Broadway production was well received, with The Village Voice praising the simplistic set and "strikingly talented" cast.[30] Walter Kerr in The New York Times called the show "a miracle", saying, "Almost everything works, because almost everything is effortless."[31]
In reviewing the 1999 revival, Playbill's Steven Suskin found it "overblown and underwhelming. The scenic and musical enhancements were especially harmful, it seemed to me; the unassuming, child-size characters were overwhelmed . . . Which is not to say that the 1999 music department did a bad job; it's simply that the concept of a big, new 'You're a Good Man, Charlie Brown' worked against the inherent qualities of the material."[32] In The New York Times, Ben Brantley wrote a lukewarm review:
The real problem is a matter of scale . . . there's an uncomfortable feeling of dead air that the cast must work much too hard to fill . . . Songs that were created as droll, low-key character portraits have been reconceived as showstoppers, and the frail, winsome little bodies of these numbers just aren't up to the job. When Linus sings a duet with his famous security blanket, which has been wired to dance on its own, the sequence has a flailing, improvised quality that is the stuff of actors' nightmares.[31]
Brantley did praise some of the cast, saying, "Kristin Chenoweth's performance as Sally will be the part that should seal her reputation. This glow cast by a star-in-the-making gives a real Broadway magic to a show that otherwise feels sadly shrunken . . . And Roger Bart, in the plum role of Snoopy, the charismatic beagle, incorporates some delightful doglike mannerisms."[31]
Awards and nominations[edit]
Original Off-Broadway Production[edit]
Year
Award Ceremony
Category
Nominee
Result
1967 Drama Desk Award[33] Best Performer Bill Hinnant Won
Outstanding Director of a Musical Joseph Hardy Won
Outer Critics Circle Award[6] Outstanding Off-Broadway Musical Won
Theatre World Award[6] Reva Rose Won
Clarence Derwent Award[6] Most Promising Female Won
1968 Grammy Award[34] Best Musical Show Album Nominated
1999 Broadway Revival[edit]
Year
Award Ceremony
Category
Nominee
Result
1999 Tony Award[35] Best Revival of a Musical Nominated
Best Featured Actor in a Musical Roger Bart Won
Best Featured Actress in a Musical Kristin Chenoweth Won
Best Direction of a Musical Michael Mayer Nominated
Drama Desk Award[35] Outstanding Revival of a Musical Won
Outstanding Featured Actor in a Musical Roger Bart Won
Outstanding Featured Actress in a Musical Kristin Chenoweth Won
Outstanding Director of a Musical Michael Mayer Nominated
Outstanding Set Design David Gallo Nominated
2000 Grammy Award[36] Best Musical Show Album Nominated
Adaptations[edit]
In 1973, the show was adapted for television in a Hallmark Hall of Fame TV special, broadcast on NBC.[37] Actors featured in the adaptation included original 1967 cast member Bill Hinnant as Snoopy.[38] Hinnant was the only member of the original off-Broadway cast to reprise their role in the special.
CBS aired a new prime-time animated TV special in 1985, based on the original musical.[39] This version was the first animated depiction of Snoopy with comprehensible dialogue, voiced by Robert Towers, who previously portrayed the role in the 1967 Los Angeles production alongside Burghoff as Charlie Brown and Judy Kaye as Lucy.
Original cast albums have been released for all three versions of the stage show, however the 1973 Hallmark Hall of Fame recording on Atlantic Records is no longer in print.
See also[edit]
You're a Good Man, Charlie Brown TV special
Snoopy!!! The Musical
Dog Sees God: Confessions of a Teenage Blockhead
References[edit]
Jump up ^ Peter, Thomas. "Top 10 Lists Announced for Most-Performed Plays and Musicals in High Schools" Archived 2013-10-19 at the Wayback Machine.. Playbill.
Jump up ^ Zedella, Susan (August 26, 2008). "You're a Good Man, Charlie Brown: Another hit for Opera House". Encore Archives. Theatre/Stage. Retrieved March 12, 2011.
Jump up ^ "Biography of Clark Gesner, Clark Gesner Papers, 1940–2005" Archived 2010-10-29 at the Wayback Machine. Princeton University Library
Jump up ^ "'You're A Good Man, Charlie Brown' Background, History, and Production Notes" imagi-nation.com
^ Jump up to: a b c "''Charlie Brown''". Webcache.googleusercontent.com. Archived from the original on January 21, 2012. Retrieved November 14, 2011. CS1 maint: BOT: original-url status unknown (link)
^ Jump up to: a b c d "You're a Good Man, Charlie Brown". Lortel Archives/Internet Off Broadway Database. Lucille Lortel Foundation. Archived from the original on July 27, 2011. Retrieved June 19, 2009.
Jump up ^ Viagas, Robert. "Today In Theatre History: March 7" Archived 2011-03-14 at the Wayback Machine.. playbill.com, March 7, 2011.
Jump up ^ "You're a Good Man, Chalire Brown". Superheroeslives.com. Retrieved November 14, 2011.
Jump up ^ "You're A Good Man Charlie Brown". Masterworks Broadway.
Jump up ^ Simonson, Robert. "Clark Gesner, Composer of You’re a Good Man, Charlie Brown, Dead at 64" Playbill.com, July 27, 2002.
Jump up ^ "You're A Good Man, Charlie Brown (Remastered Original 1967 Cast Recording)". Decca Broadway. October 31, 2000. Retrieved November 14, 2011.
Jump up ^ The Broadway League. "IBDb listing for 1971 production". Ibdb.com. Retrieved November 14, 2011.
Jump up ^ "1970 US Tour listing". Broadwayworld.com. May 17, 1971. Retrieved November 14, 2011.
Jump up ^ "You're a Good Man Charlie Brown". Tams-Witmark. Retrieved 6 May 2011.
Jump up ^ Willis, John; Hodges, Ben (2006). Theater World. Hal Leonard Corporation. Retrieved March 14, 2011.
Jump up ^ "West End production listing". Broadwayworld.com. February 1, 1962. Retrieved November 14, 2011.
Jump up ^ Kenrick, John. "1960s Stage Chronology". musicals101.com. Retrieved March 14, 2011.
Jump up ^ "Cast (Rapp, Bart & Wong), Dates & Pre-Bway Tour Finalized for Charlie Brown" Archived 2011-06-29 at the Wayback Machine.. Playbill. Oct 28, 1998.
Jump up ^ "Bring In `Da Peanuts: Charlie Brown Switches to Ambassador" playbill.com, November 30, 1998.
Jump up ^ "IBDB listing for 1999 production" ibdb.com
Jump up ^ "Kristin Chenoweth biography". Movies.yahoo.com. Retrieved November 14, 2011.
Jump up ^ Gesner, Clark. "You're a Good Man, Charlie Brown (1999 Broadway Revival Cast): Clark Gesner, Andrew Lippa, Kristin Chenoweth: Music". Amazon.com. Retrieved November 14, 2011.
Jump up ^ Gans, Andrew. "Deckman, Karr, Crowle, Floyd, Larsen and Miller Cast in Charlie Brown Benefit Concert" Archived 2011-06-29 at the Wayback Machine., playbill.com, October 21, 2008.
Jump up ^ Gans, Andrew. "Charlie Brown Benefit Concert, with Deckman, Karr, Crowle, Floyd, Larsen, Miller, Presented Dec. 15" Playbill, December 15, 2008.
Jump up ^ http://www.tamswitmark.com/musicals/charliebrown.html
Jump up ^ http://www.tamswitmark.com/musicals/cbr.html
Jump up ^ Frank Rizzo. "'Rent' Original To Star In New 'Charlie Brown'" ("On Stage" column), The Hartford Courant, October 4, 1998, Arts section, page G4.
Jump up ^ Alex Beam. "It's The Great White Way, Charlie Brown" ("TGIF" column), Boston Globe, October 9, 1998, Living section, page D1.
Jump up ^ Chris Jones. "Good grief: For a way-Off Broadway preview, why not Skokie?" (Theater column), Chicago Tribune, November 22, 1998, Arts & Entertainment section, page 6.
Jump up ^ Smith, Michael. "Gary Burghoff, Bob Balaban in Stage Version of 'Peanuts'". The Village Voice, 1967 Theatre Journal.
^ Jump up to: a b c Brantley, Ben. "THEATER REVIEW; Your Sister's Gutsy, Charlie Brown" nytimes.com, February 5, 1999.
Jump up ^ Suskin, Steven. "ON THE RECORD: Mamma, Elaine's King & Charlie Brown" Archived 2011-06-29 at the Wayback Machine. playbill.com, November 26, 2000.
Jump up ^ "Drama Desk". Drama Desk. Retrieved November 14, 2011.
Jump up ^ "1968 Grammy Awards" metrolyrics.com
^ Jump up to: a b "IBDB Production Awards" ibdb.com
Jump up ^ 42nd Annual Grammy Awards Nominations Coverage digital hit.com
Jump up ^ "Internet Movie Database listing, 1973 television production" imdb.com
Jump up ^ Hetrick, Adam. "NYMF Announces 2007 Partner Events: Evening with Schwartz, New Musicals Concert and More" Archived 2011-06-29 at the Wayback Machine., Playbill, August 13, 2007.
Jump up ^ Internet Movie Database listing, You're a Good Man, Charlie Brown (TV 1985) imdb.com
External links[edit]
Wikimedia Commons has media related to You're a Good Man, Charlie Brown.
Wikiquote has quotations related to: You're a Good Man, Charlie Brown
You're a Good Man, Charlie Brown at the Internet Broadway Database
You're a Good Man, Charlie Brown at the Internet Off-Broadway Database
Tams-Witmark plot synopsis and production information
show
v
t
e
Peanuts by Charles M. Schulz
Filmography
Characters
Charlie Brown
Sally Brown
Eudora
Franklin
Frieda
Great Pumpkin
Kite-Eating Tree
Little Red-Haired Girl
Marcie
Patty
Peggy Jean
Peppermint Patty
Pig-Pen
Schroeder
Shermy
Snoopy
Snoopy's siblings
Linus van Pelt
Lucy van Pelt
Rerun van Pelt
Violet
Woodstock
other characters
Feature films
A Boy Named Charlie Brown
Snoopy, Come Home
Race for Your Life, Charlie Brown
Bon Voyage, Charlie Brown (and Don't Come Back!!)
The Peanuts Movie
soundtrack
TV specials
A Boy Named Charlie Brown (documentary)
A Charlie Brown Christmas
Charlie Brown's All Stars!
It's the Great Pumpkin...
You're in Love...
He's Your Dog...
Charlie Brown and Charles Schulz (documentary)
It Was a Short Summer...
Play It Again...
You're Not Elected...
There's No Time for Love...
A Charlie Brown Thanksgiving
It's a Mystery...
It's the Easter Beagle...
Be My Valentine...
You're a Good Sport...
Happy Anniversary... (documentary)
It's Arbor Day...
It's Your First Kiss...
What a Nightmare...
Happy Birthday... (documentary)
You're the Greatest...
She's a Good Skate...
Life Is a Circus...
It's Magic...
Someday You'll Find Her...
A Charlie Brown Celebration
Is This Goodbye...?
It's an Adventure...
What Have We Learned...?
It's Flashbeagle...
Snoopy's Getting Married...
It's Your 20th Television Anniversary... (documentary)
You're a Good Man...
Happy New Year...!
Snoopy!!! The Musical
It's the Girl in the Red Truck...
This Is America... (8 episodes miniseries)
You Don't Look 40... (documentary)
Why, Charlie Brown, Why?
Snoopy's Reunion
It's Spring Training...
It's Christmastime Again...
You're in the Super Bowl...
It Was My Best Birthday Ever...
Good Grief... : A Tribute to Charles Schulz (documentary)
Here's to You... : 50 Great Years (documentary)
It's the Pied Piper...
The Making of "A Charlie Brown Christmas" (documentary)
A Charlie Brown Valentine
Charlie Brown's Christmas Tales
Lucy Must Be Traded...
I Want a Dog for Christmas...
He's a Bully...
Happiness Is a Warm Blanket...
Animated series
The Charlie Brown and Snoopy Show
Peanuts Motion Comics
Peanuts
Video games
Snoopy and the Red Baron
Snoopy
Snoopy's Magic Show
Snoopy's Silly Sports Spectacular
Snoopy Concert
Snoopy Tennis
Snoopy vs. the Red Baron
Snoopy Flying Ace
The Peanuts Movie: Snoopy's Grand Adventure
Other media
Music
"Better When I'm Dancin'"
A Charlie Brown Christmas soundtrack
"Christmas Time Is Here"
"Linus and Lucy"
Musicals
You're a Good Man, Charlie Brown
Snoopy the Musical
Book series
Charlie Brown's Super Book of Questions and Answers
The Complete Peanuts
Educational films
Tooth Brushing
It's Dental Flossophy, Charlie Brown
Charlie Brown Clears the Air
Related
Charles M. Schulz Museum and Research Center
Unofficial adaptations
Dog Sees God: Confessions of a Teenage Blockhead
Bring Me the Head of Charlie Brown
Other Schulz comics
It's Only a Game
Li'l Folks
Young Pillars
show
v
t
e
Clark Gesner
Musicals
You're a Good Man, Charlie Brown
The Utter Glory of Morrissey Hall
Songs
"Little Known Facts"
show
v
t
e
Andrew Lippa
Musicals
john & jen
You're a Good Man, Charlie Brown
The Wild Party
The Addams Family
A Little Princess
Big Fish
Musical numbers
"Little Known Facts"
"When You're an Addams"
show
v
t
e
Drama Desk Award for Outstanding Revival of a Musical
She Loves Me (1994)
The King and I (1996)
Chicago (1997)
Cabaret (1998)
You're a Good Man, Charlie Brown (1999)
Kiss Me, Kate (2000)
42nd Street (2001)
Into the Woods (2002)
Nine (2003)
Assassins (2004)
La Cage aux Folles (2005)
Sweeney Todd (2006)
Company (2007)
South Pacific (2008)
Hair (2009)
La Cage aux Folles (2010)
Anything Goes (2011)
Follies (2012)
Pippin (2013)
Hedwig and the Angry Inch (2014)
The King and I (2015)
She Loves Me (2016)
Hello, Dolly! (2017)
My Fair Lady (2018)
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