Interview: THE WORLD ACCORDING TO SNOOPY Makes Its Debut at Texas State University

Peanuts fans rejoice! THE WORLD ACCORDING TO SNOOPY, a re-imagined sequel to YOU'RE A GOOD MAN, CHARLIE BROWN runs at Texas State University from February 14 - 19. A massive undertaking in the debut of this re-worked show, has Peanuts fans, like myself giddy with excitement. Head of Texas State University's Musical Theatre Department, Kaitlin Hopkins, took time from her busy schedule to answer some questions for BWW.

BWW: How does THE WORLD ACCORDING TO SNOOPY differ from SNOOPY: THE MUSICAL?
It is a re-imagining of two different versions of Snoopy: the original version, and the London version. In 2014, Adam Cates and I began working on the concept for a new version of the show, that culminated in the spring of 2015 with composer Larry Grossman joining us for a developmental workshop at Texas State University, where I am currently the Head of Musical Theatre BFA program.

One of the first things we did was flesh out the character of Woodstock, who now guides the audience through the transitions from one scene to the next. Larry composed new dance music for Woodstock, which also explores modern day funky jazz styles. In addition, choreographer Adam Cates reconceived the role that dance plays in the show, by incorporating non traditional styles like tap and hip hop, along with restructuring several songs into fully realized production numbers.

We also further developed the character of Sally, who was the only character that didn't have solo. I approached my friend Andrew Lippa to write the lyrics to a new song, and collaborate with Larry Grossman, as sadly Hal Hackady, the original lyricist, had passed away. Lippa was responsible for adding new songs and new orchestrations to the Tony Award winning 1998 revival of YOU'RE A GOOD MAN CHARLIE BROWN, so we all felt he was the perfect person to continue giving Sally her voice.

We also cut a few songs, and added back a song called "Friend" that now opens the second act. It was cut from the original production but is one of our favorite songs, featuring all seven characters. Greg Bolin completely re-orchestrated the score and wrote new vocal arrangements, giving the show a fresh, and current sound. Lastly, we did some restructuring of the book, adding a few new vignettes, and I developed a design concept bringing the classic Peanuts characters to today's audiences through a more contemporary lens.

BWW: What was the impetus behind reviving this show?
I have a lifelong relationship with the Peanuts characters. My late father, theater producer Gene Persson, along with his producing partner of many years Arthur Whitelaw, were the original producers of YOU'RE A GOOD MAN CHARLIE BROWN. Peanuts have been part of my life since I was a little girl when the first production opened off Broadway in 1968. As a three and half year old who sat through endless rehearsals and performances, you can imagine the impact it had on my life. It was the reason I went into musical theater and wanted to perform, and later direct and produce.

One of my father's dreams was to produce a revival of YOU'RE A GOOD MAN CHARLIE BROWN, which he was able to accomplish before he died (the Tony award winning revival in 1998). Another was to see A Charlie Brown Christmas licensed, which, although it was in the works prior to his death, didn't come to fruition until after he passed. I can't tell you how much joy it brings me every time I see a production of A Charlie Brown Christmas being produced because of how important it was to my father that audiences get to experience that story on stage in addition to the classic animated film. One of my father's intentions was also to give Snoopy the same kind of revival that he and Arthur had given Charlie Brown. He loved the score of Snoopy, and he and I spoke often of his desire for this show to have the life he felt it deserved. His hope was at some point to take a look at it again but he never got the chance. It became my dream to continue that legacy and make sure his dream was realized. Arthur and my step-mother Ruby Persson have been invaluable in helping me make this possible. Back when my father was working on the concept for the revival of Charlie Brown we shared many conversations and ideas on what that might look like. When my father died, I was glad I had been part of the Charlie Brown revival process, as it absolutely informed how I approached Snoopy. It was now just a matter of finding the right team to do it with me. That is when Adam Cates came into my life.

I had been talking to our head of musical theater dance at Texas State, Cassie Abate, about my desire to do a workshop of Snoopy. I remember her laughing and saying "then you need to meet my friend Adam Cates, who is equally obsessed with that show". Adam and original composer of Snoopy, Larry Grossman, had already worked on a production of the show together and believed, like I did, that it was the right time for this heart-warming sequel to Charlie Brown to have its day. Independently, we all had a deep love and affection for this material. In 2015, I invited Adam and Larry to come to Texas State and do a workshop of the show and see if we could merge all of our ideas and bring this show to today's audiences. It turns out it was the perfect team and here we are!

BWW: Can you tell us how the collaboration between the Texas State University Department of Theatre and Dance Harrison/Bowman New Work Commission and Houston's Theatre Under The Stars Humpreys School of Musical Theatre came about?
TUTS had approached Texas State about creating an internship program with our theater department in all aspects of our design tech area, and I was interested in rethinking the financial producing model for new work development, as well as connecting our university with a prominent regional theater. Since 2011, thanks to donors Patti Harrison and Mike and Dianne Bowman, we have been able to bring in industry professionals to develop new musicals through readings, workshops, and fully mounted productions. When I approached TUTS about a possible joint production in addition to the internships, where they could produce the regional premiere of THE WORLD ACCORDING TO SNOOPY, they were extremely receptive as this provided both organizations with a unique opportunity for collaboration. My goal is ultimately to transition our Harrison Bowman New Works Commission into a Center for New Work at Texas State where we join with other regional theaters in new work development and shared premieres. We currently have four new musicals with prominent creative teams in the hopper that will go through the same development process here. This is an incredible chance for our students in performance, design, stage management and directing to work with industry professionals and hone an essential skillset, at the same time addressing an industry need to develop new work under a more affordable financial model. One of my favorite things about this educational model is having professionals here like Christopher Durang, Theresa Rebeck, Andrew Lippa, Sheldon Harnick, Tony Walton, Larry Grossman and many others who have been at Texas State over the past few years who are also helping us educate and train the next generation of young artists. This opportunity with TUTS also allows me to reunite and collaborate with old friends, one of my mentors Sheldon Epps who is currently Artistic Advisor for TUTS, and Dave Clemmons who recently took over as their new Dean of the Humphreys' School of Musical Theatre.

BWW: Can you tell us about the creative team that has been gathered for this show?
Composer Larry Grossman is a 6-time Emmy Award and Peabody winner. His credits include collaborating with lyricist Hal Hackaday on Snoopy, Minnie's Boys and Goodtime Charlie, and earning Tony nominations for A Doll's Life and Grind. Choreographer Adam Cates is currently associate choreographer on the new Ahrens, Flaherty and Terrence McNally's musical Anastasia opening in April on Broadway. He was also associate choreographer on A Gentleman's Guide to Love and Murder. His book "The Business of Show" is a must read for any young professional, in fact we use it in our curriculum at Texas State. Tony nominated composer and lyricist Andrew Lippa's work includes; The Addam's Family, Big Fish, The Wild Party and his concept opera, I Am Harvey Milk (words and music), was premiered by the San Francisco Gay Men's Chorus. That recording, released in October 2013, reached number 2 on the iTunes Classical Chart, and the piece has had over 20 productions worldwide. His new songs for the 1999 revival of YOU'RE A GOOD MAN, CHARLIE BROWN, along with his production of the cast recording, earned him a 2000 Grammy nomination. Lastly Greg Bolin is a composer as well as a professional orchestrator and is on faculty at Texas State. Greg provided original vocal arrangements and orchestrations for Andrew Lippa's A Little Princess and Zachary Scott Theater's Porgy and Bess (for which he received a special citation from the Austin Critics' Table Awards).Greg received his Doctor of Musical Arts degree in music composition from the University of Texas in 2007, and his original compositions have since been performed across the country and around the globe. His piece Fleisher Pass for symphonic winds was premiered in Japan in 2007 and was subsequently included in the sixth volume of Better Teaching Through Performance in Band (GIA Publications). Greg's second opera, Tango, toured the country courtesy of grants from the National Endowment for the Arts and the National Performance Network.

BWW: What is it about the Peanuts characters that make them so special?
These characters are timeless. A strip that was written in the 1960's is as relevant today as it was then. I think these characters are also special because people can relate to them no matter how old they are. We see ourselves through their worldview. They are cartoon characters, yes, but they deal with the real world, interpersonal issues that we all face-not just as children, but as adults, too. That's the appeal of the characters created by Charles Schulz. There is an underlying, grown-up philosophical thread throughout all of the Peanuts cartoon strips that is presented through the more simplistic lens of childhood.

BWW: Is THE WORLD ACCORDING TO SNOOPY geared for a younger audience than SNOOPY: THE MUSICAL?
It's geared to appeal to audiences of all ages. It is sophisticated enough for adults and accessible to children.

BWW: This show is introducing a whole new generation to the Peanuts gang. Aside from the Christmas and Halloween television specials, most children have no idea who Snoopy is. Do you feel an obligation to pass Charles Schulz's legacy on to a whole new audience?
I'm not so sure I would agree that "most children have no idea who Snoopy is." I don't think there would have been such an outcry about the absence of the Snoopy balloon at the Macy's Thanksgiving Day Parade last year if that were the case. I do think that the show will re-introduce Snoopy and his pals to theatregoers in a fresh and exciting way. It is a privilege to be part of reviving this wonderful show for the next generation. Audiences are going to love it!

BWW: How many of the Peanuts characters are in the show?
Seven including; Snoopy, Woodstock, Charlie Brown, Lucy, Linus, Peppermint Patty and Sally.

BWW: What is your favorite part of the show?
Hmmm, I'm not sure I have a favorite part yet, it tends to change daily, but if I had to pick today, I would say the closing number "Just One Person", which sends a beautiful message of believing in yourself and connecting with other people who also believe in you.

BWW: What makes this reboot special?
This production is special to me personally because it was a way for me to honor my father's memory, and share these special characters with my students as well as with a new generation of audiences. In terms of why this reboot is special in its own right, it was created by people who feel a deep, and very personal responsibility to carry on and honor the legacy Charles Schulz created with his incredibly resilient characters. No matter how many times Lucy pulls the football out from under Charlie Brown, no matter how many times his kite gets stuck in the tree and fails to fly, he keeps going and trying again, ever hopeful he will succeed next time. I think Schulz tapped into our optimistic hope that if we try again, the outcome may change and things might get better. It is better to try and fail than to not try at all. Their worldview resonates with all ages and offers us perspective on the hardships of life and philosophies on how to cope with them. I think the message of Peanuts is more valuable now than ever.

BWW: What does the future hold for THE WORLD ACCORDING TO SNOOPY?
After the production at TUTS, Adam Cates and I have been invited by Artistic Director Paige Price to mount a production at one of my favorite summer theaters, Theatre Aspen. It will run there in July and August. Following the run at Theater Aspen we hope to officially announce further plans for the show some time in the fall.

I am looking forward to seeing THE WORLD ACCORDING TO SNOOPY with great anticipation. A huge thank you to Kaitlin Hopkins for taking the time to answer our questions. Make your plans to visit the Peanuts gang at Texas State University today!

THE WORLD ACCORDING TO SNOOPY
Texas State University, San Marcos, Texas
Patti Strickel Harrison Theatre
February 14 -18 7:30PM
February 18 -19 2:00 PM

Tickets - txstatepresents.com
512-245-6500