Theatre Works opened its 18th season with Charles Schulz's beloved "Peanuts" characters in "You're a Good Man, Charlie Brown." The musical is built from vignettes drawn from the comic strip — Charlie Brown's insecurities, Lucy's crabbiness tests, Linus's blanket, Snoopy's Red Baron fantasies — and this cast of six makes every one of them land. Director Steven Pacheco also designed the set and lighting, and is to be commended for his insightful direction and sparkling visual production. Musical director Susan McClain brings the harmonies together beautifully, and stage manager Anna Olson keeps the show running smoothly.

Laura Ash-Sulger is a laugh riot as Snoopy — celebrating suppertime with gleeful dancing and singing, channeling her inner Red Baron, and delivering facial expressions during the crabbiness test that are priceless. Her all-white costume with a black spot on the back and blond pigtails flapping makes the character immediately recognizable and irresistible to watch. Elena J. Seymour as Lucy is the catalyst the show depends on, and she delivers every line and number with excellent timing — "Little Known Facts" is especially well executed. Andrew Stangland gives a fine, fresh portrayal of the insecure Charlie Brown, particularly winning in the opening scene about the red-headed girl who won't look at him. Patrick Cullen II as Linus makes the role completely believable with young mannerisms and genuine warmth — "My Blanket and Me" is charming, and his consoling line to Lucy stops the scene cold. Christopher Judge as Schroeder handles "The Book Report" with a polished, fast-paced delivery and pleasant voice. Alicia Daigle as Patty has a lovely voice and makes the most of her stage time. The final "Happiness" number brings all six voices together in lovely harmonies — the best ensemble moment of the evening and a credit to the musical direction. So for a great family show, don't miss it.

Lillian Hellman's 1934 classic drama, "The Children's Hour" is the second presentation of Theatre Works' season. Director Seann L. Jackson blocks the 14 characters in a cat and mouse chase scenario during the three act drama, creating tension in most of the scenes. The story about false rumors and gossip about two innocent teachers spread by a vindictive and vicious student destroying lives is as relevant in the '30s as it is now. The two teachers Karen and Martha (Andrea Whitney and Alisha Martin), accused of an unnatural love for each other by the despicable Mary Tilford (Abigail Robinson) — who is aided in her revenge unknowingly by her strong-willed grandmother (Carol Forrest) — have their lives ruined and Karen's engagement to Dr. Cardin (John Kaveny) cancelled. Throw in Martha's actress aunt (Mary Concannon), six girl students and the leering delivery boy and you have the makings of the heavy duty drama that follows.

Young director Seann Jackson gets some powerful performances in this show. He is a theatre graduate of URI and his attention to dramatic tension is shown in the confrontation scenes in the second act between the two teachers, Joe, Mary and her grandmother, and in the third act between Karen and Joe, then Martha, and finally the grandmother. His assistant director Christian O'Neill and stage manager Aaron Heller help Seann with the change of scenes from the school into the Tilford house and back again.

The two teachers' roles are portrayed by strong actresses, Andrea Whitney and Alisha Martin. Their hurt and betrayal is well played. Nothing unnatural happens between them, but Alisha's character finds out she does have these feelings for the other woman and admits it — she kisses Karen on the head, says goodbye and kills herself. Both Andrea and Alisha show the strength of their characters and deliver their dialogue beautifully. Andrea's breakup with Joe and the eventual ruination of her life by Mrs. Tilford and Mary is given a tearful and moving portrayal. Alisha shows her character's transition from strong teacher to a desperate woman very well. Powerhouse actresses in action.

Just as powerful as the two leading ladies are John Kaveny as Joe, Carol Forrest as Mrs. Tilford, and Abigail Robinson as the evil Mary. John is a natural on stage and makes every moment come alive with his energetic performance. He plays Joe as being noble until the end. Carol is perfect as the grandmother in charge of the situation. Her timing and strong delivery are wonderful whether she is speaking to Joe, Mary, the two teachers or her maid. Carol is an actress who makes you listen to her dialogue and realize how dynamic she is on stage. Abigail, a student at Mount St. Charles, is an excellent and natural talent at an early age. She plays Mary as an innocent at the beginning of the show but one realizes her true nature when she bullies her two friends. The physical scene with Alicia Daigle as Evelyn and Leah Lebrecque as Peggy is outstanding.

Mary Concannon as Lily, Martha's dippy aunt, holds her own with Alisha in the revelation of Martha's being unnatural, which sets up the tragic events that follow. Amanda Clarke as Rosalie, the school thief, helps Mary by lying about the teachers because of her fear of the evil girl. Jen Delfarno, Chelsea Russell, and Michelle Mathewson are the other students in the school appearing in the first act. Monica Daigle as Agatha, the Tilford maid, makes the maid a strong personality who sees through Mary's fake sweetness and takes no guff from her. Also, Matt Simpson's few moments on stage stand out because of his leering expression. (Matt has played larger roles including the title role in Oliver and Jack in Into the Woods.) Small but memorable comic moments in this drama. Kudos to one and all on "The Children's Hour".

Theatre Works' production of Rodgers & Hammerstein's "The King and I" was a real treat. Director Mark Anderson assembled a very talented 36-member cast for this story of Anna Leonowens, the British schoolteacher brought to Siam to educate the King's many children. Musical director Katie Estrella and her musicians execute the score beautifully. The set is small and simple but adequately serves each scene — proof, as this reviewer has long believed, that talent is what makes a musical, not lavish staging. Jennifer Barrette choreographed the demanding Theater Pavilion scene (a 16-minute narrated sequence); Gregory Bonin choreographed "Shall We Dance." Publicity by Louise Tetreault; makeup by Richard Concannon; props by Woonsocket High School Art Department.

Gregory Bonin plays the King of Siam with complete conviction — shaving off his curly hair to become a skinhead Yul Brynner — and changes from playful to furious without blinking an eye. "A Puzzlement" is outstanding, his scenes with the children are warm and enjoyable, and his "Shall We Dance" sequence earns a standing ovation at curtain call. Kathy Donahue is a truly outstanding Anna — every number beautifully sung, every scene played with emotion and care. "Getting to Know You" with the children is a special treat; her beautiful gown in the party scene is matched only by her performance in it. Jessica Roch steps into the role of Princess Tuptim at the last minute after the original performer was unable to do the show — and sings so beautifully in "My Lord and Master" and "I Have Dreamed" (with Elimelec Valentin as LunTha) that you would never know it wasn't the original plan. Both Jessica and Elimelec are destined for careers in theater if they wish to continue. Auria Bacon plays the Royal Grandmother with style. The royal children — including Prince Chululongkorn played by Eric Desnoyers, who does an outstanding job — are the cutest and most talented bunch, lighting up the stage in every scene. Brian McGovern as Edward Ramsey has a very nice scene with Anna, and Alex Whitney does well as Louis, her son. Mark Anderson, who directed and also plays Captain Orton, deserves full credit for the genius of this production. So make a special effort to support this community theater — "The King and I" is a real treat.

The last show of Theatre Works' season is the 1948 Tony Award-winning play "Mister Roberts". The auditorium is decorated like a USO hall and has memorabilia from that era. The show is a rowdy, realistic saga of a group of American sailors on a cargo ship in the Pacific in 1945, right before V-E Day until a few weeks before V-J Day. The captain of the ship is a mean-spirited horror of a man whom the men consider their enemy. Lt. Roberts shares their dislike of the man and is popular with the crew. This play shows the relationship between Mr. Roberts and his fellow crew members, leading to laughter and tears during the course of this meaningful play.

Director Mark Silberstein leads his 12-member cast splendidly through the two acts. The excellent set is a huge two-story cargo ship designed by Tom Norton, modified by Fred Fortier to fit the playing space, and constructed by Norman Tremblay. The ship and stateroom are very realistic and utilized very well during the night. The use of period music and newscasts of the current events of the day is also very well done.

Richard Concannon plays the well-liked Mr. Roberts superbly. He shows the depth of the character who wants to be involved in the actual fighting of the war and not stuck on a cargo ship. Richard shows Roberts' torment when he gives the evil captain his word to keep quiet about their agreement about the men going on leave. Richard has many sparkling moments both funny and poignant with Doc, Pulver, and all the sailors. Bert Cayer plays Doc, Mr. Roberts' confidante. He has many funny scenes in the stateroom — the standout being when he mixes various ingredients including Coke, hair tonic, and iodine into alcohol to make scotch. The funniest character in the show is Ensign Pulver, played by Alfred Fortier III. He has some of the funniest scenes including the pulling up of the palm tree as a tribute to Mr. Roberts, the attempted seduction of a nurse, and the firecracker that blows up the laundry area when he enters in his underwear covered with soapsuds. Fred is as brilliant in a dramatic role as in a comic one, especially when he reads the letter about what happens to Mr. Roberts on the destroyer. He shows the growth of the callow boy who turns into a man at show's end.

Another wonderful performance is given by Ronald Mutton as the Captain. Ron makes him such a callous, unfeeling brute that the audience cheers when he is taken ill in his cabin. A very nice man in real life, Ron captures the true villain perfectly, making you want to boo and hiss.

The sailors do a wonderful job in their portrayals. Moe Cournoyer as Dowdy is the leader of the men. Jason Begin as Dolan does a great job showing his anger at being unfairly treated and shows a comic side when he steals the Admiral's goat while on leave. Michael Harrison as Insigna and Peter Fournier as Mannion play the constantly arguing sailors who finally become friends at the end. Ahmed Bharoocha as Stefanowski and Ryan Latour as Lindstrom round out the crew. Rounding out the cast is Erin O'Donnell DeArauja as Lt. Ann Girard and Gerry Lebreque as the military policeman. So for a great night of entertainment go see "Mister Roberts" — it will make you laugh and make you cry, doing its work wonderfully.