DOG SEES GOD was first presented by Sorrel Tomlinson / File 14 Productions at The 2004 New York International Fringe Festival, a production of The Present Company. Originally produced Off-Broadway, in a limited engagement, by Sorrel Tomlinson. Subsequently produced Off-Broadway by Dede Harris and Martian Entertainment in association with Sharon Karmazin, Michelle Schneider, Mort Swinsky.
DOG SEES GOD has not been authorized or approved in any manner by the Charles M. Schulz Estate or United Features Syndicate, which have no responsibility for its content.
DOG SEES GOD has not been authorized or approved in any manner by the Charles M. Schulz Estate or United Features Syndicate, which have no responsibility for its content.
Cast
CB - Mitch Tyler^
CB's Sister - Lina Boyer
Beethoven - Chandler Reddington
Van - Ethan Hernandez^
Tricia - Aussie Marie
Marcy - Ella Frank
Matt - Eli Arbogast
Van's Sister - Erica Berger
^Member, WTC Ensemble
Crew
Director - Mitch Tyler
Playwright - Bert V. Royal
Stage Managers - Devan Wetenkamp, Nicholas Hancock
Lighting Designer - Riley Merrill
Lighting board operator - Phil Vernon
Sound Operator - Jim Martin
Intimacy Choreographer - Jim Martin
Producer - Wasatch Theatre Company
Director/actor’s note
Dear audience member,
“FIND. AN. IDENTITY!”
Those three words are emphasized on two separate occasions in this story. First, out of exasperation by a brother towards his sister and her seeming inability to settle on a concrete persona for herself. Second, in the play’s final moments, when she knowingly and playfully brings it back around to her brother in a loving and somehow reassuring way. Those three words reverberate throughout the rest of this story in so many ways, be it verbally, thematically, symbolically, or-- especially-- emotionally.
At first glance, these characters may simply appear to be teenaged caricatures of a certain ragtag group of kids that generations of us have grown up on. Even those who haven’t will more than likely recognize that all too familiar yellow-orange zigzag-patterned shirt on CB, and those initials do in fact stand for what you think they might. Often when I would come back to this script in years past, my first thought would be, “What would Charles Schulz have to say about all this?” Though they are indeed the Peanuts gang on the brink of adulthood under new aliases, they’re more than just altered copies or deeply flawed imitations of their beloved and also flawed Sunday comic strip counterparts; the drama of high school relationships and edgy and overly sexualized characters are just a facade for the deeper commentary lying at the narrative’s core. CB may be struggling to find his identity amid a sea of tragedy and change, but he’s far from the only one. CB’s Sister constantly evolves and changes her outlooks and philosophies, not unlike Sally does. Once a filthy, dust cloud-riddled child, Matt has cleaned up his outward image, but certainly not his act-- hence the continued allusions to his childhood nickname.
These are but a few examples. Virtually every other character in this show is also struggling with some sort of image or identity crisis compared to how they used to be as the kids they once were so sure as. Only subtle hints and nods tip us off to the fact that these are those children that many of us fondly remember. It’s almost like being in on a series of inside jokes you’d only know if you’d been in a friend group since elementary. It’s the allusion to someone who once was there, but if you’re on the outside, it may as well be gibberish.
When I first discovered this play ten years ago in early 2014 as a high school junior in my theatre class’s play library, I instantly fell in love with its touchy and risqué, yet hopeful and unique spin on the ‘Peanuts’, and I knew that I had to tell this story someday and somehow. It didn’t much surprise me to later learn that playwright Bert V. Royal was unable to obtain permission from the Schulz estate to use the ‘Peanuts’ names or exact likenesses in such an explicit manner for the sake of his play. Indeed, many have labeled this story as dark comedy or even a parody of ‘Peanuts,’ which I personally believe criminally undermines the hopeful beauty of this hidden gem of a play. To me, it’s a profound drama with several moments of biting humor sprinkled throughout, and I approached this production of it as such. If you had told me that not only would I be starring in my dream play and playing my dream role of CB, but also making my directorial debut with it as well, I would’ve looked at you like you were as rabid as the dog that saw god. Yet the more I thought about it, the more I realized that if I wanted to see this story brought to life with the kind of vision and passion that I had been cultivating for it for the past decade, it would have to be me. Furthermore, as time went on, I began to wonder if I'd age out of the opportunity to portray a high schooler convincingly. At my current 27 years of age and youthful babyface (at least when I’m clean-shaven), I feel lucky enough to say that this opportunity arose for me just in the nick of time in my life.
Not only does this mark my full circle moment with this show ten years after first discovering it, but it also happens to be the 20th anniversary of the play’s first opening and performance. Royal first premiered it in the summer of 2004, back when homosexual representation and discussion was still considered taboo and uncomfortable for many, and it’s interesting to see what has and hasn’t changed with this particular aspect and theme. While LGBTQ rights and representation has truly come a long way in our current social and cultural climate, and homophobia isn’t quite so widespread as it once was, it sadly still does prevail and exist in several places, even (or especially) locally. Many places even now are walking backwards on some of the rights and medical treatments that make life for those of the LGBTQ communities a viable thing. Adding to this the fact that hardly any aspects of the play or dialogue feel too dated and could easily take place today lends itself well to the overall story for better or worse.
Besides sexual identity, death and the age-old debate of what lies beyond this life plays a prominent role in this story. While it’s likely most of us are no strangers to losing beloved pets or cherished family and loved ones, we all have our existential moments and what-ifs that run through our minds in regards to this topic. A recent loss that hit me incredibly hard was the loss of my lifelong best friend last August, my Grandpa David Max Tyler II. Much like CB, I felt completely lost and adrift upon his sudden passing two days after I last visited him. In regards to the play's central theme of identity, my grandpa was an essential factor in shaping mine for the better.
Following his passing, it was only a couple weeks later after I had been inducted as a WTC ensemble member that I told Jim about my sincere desire to put on this show someday. You can only imagine the look of genuine surprise and delight I felt upon him asking me if I’d like to do it here with his help. For that, I’m forever in debt to you, Jim Martin. Life’s timing certainly has a funny way of working out sometimes.
I’ve done my absolute best pouring my heart and soul into honoring this text and beautiful story, along with these true to life characters that were so near and dear to Schulz, but that Royal also saw untapped potential and depth in. Everything from the costumes (I first sketched the costume concepts for each of the characters for a costume design class during my time in UVU’s theatre arts program back around 2018 or 19), casting (human connection is so important, and I owe my amazing cast and stage manager my everlasting gratitude and love), set pieces, music choices and cues all came from my mind and heart. It’s my sincere hope that you all see that amount of love and passion translated to the stage here in front of you tonight.
Love,
Mitch Tyler
“FIND. AN. IDENTITY!”
Those three words are emphasized on two separate occasions in this story. First, out of exasperation by a brother towards his sister and her seeming inability to settle on a concrete persona for herself. Second, in the play’s final moments, when she knowingly and playfully brings it back around to her brother in a loving and somehow reassuring way. Those three words reverberate throughout the rest of this story in so many ways, be it verbally, thematically, symbolically, or-- especially-- emotionally.
At first glance, these characters may simply appear to be teenaged caricatures of a certain ragtag group of kids that generations of us have grown up on. Even those who haven’t will more than likely recognize that all too familiar yellow-orange zigzag-patterned shirt on CB, and those initials do in fact stand for what you think they might. Often when I would come back to this script in years past, my first thought would be, “What would Charles Schulz have to say about all this?” Though they are indeed the Peanuts gang on the brink of adulthood under new aliases, they’re more than just altered copies or deeply flawed imitations of their beloved and also flawed Sunday comic strip counterparts; the drama of high school relationships and edgy and overly sexualized characters are just a facade for the deeper commentary lying at the narrative’s core. CB may be struggling to find his identity amid a sea of tragedy and change, but he’s far from the only one. CB’s Sister constantly evolves and changes her outlooks and philosophies, not unlike Sally does. Once a filthy, dust cloud-riddled child, Matt has cleaned up his outward image, but certainly not his act-- hence the continued allusions to his childhood nickname.
These are but a few examples. Virtually every other character in this show is also struggling with some sort of image or identity crisis compared to how they used to be as the kids they once were so sure as. Only subtle hints and nods tip us off to the fact that these are those children that many of us fondly remember. It’s almost like being in on a series of inside jokes you’d only know if you’d been in a friend group since elementary. It’s the allusion to someone who once was there, but if you’re on the outside, it may as well be gibberish.
When I first discovered this play ten years ago in early 2014 as a high school junior in my theatre class’s play library, I instantly fell in love with its touchy and risqué, yet hopeful and unique spin on the ‘Peanuts’, and I knew that I had to tell this story someday and somehow. It didn’t much surprise me to later learn that playwright Bert V. Royal was unable to obtain permission from the Schulz estate to use the ‘Peanuts’ names or exact likenesses in such an explicit manner for the sake of his play. Indeed, many have labeled this story as dark comedy or even a parody of ‘Peanuts,’ which I personally believe criminally undermines the hopeful beauty of this hidden gem of a play. To me, it’s a profound drama with several moments of biting humor sprinkled throughout, and I approached this production of it as such. If you had told me that not only would I be starring in my dream play and playing my dream role of CB, but also making my directorial debut with it as well, I would’ve looked at you like you were as rabid as the dog that saw god. Yet the more I thought about it, the more I realized that if I wanted to see this story brought to life with the kind of vision and passion that I had been cultivating for it for the past decade, it would have to be me. Furthermore, as time went on, I began to wonder if I'd age out of the opportunity to portray a high schooler convincingly. At my current 27 years of age and youthful babyface (at least when I’m clean-shaven), I feel lucky enough to say that this opportunity arose for me just in the nick of time in my life.
Not only does this mark my full circle moment with this show ten years after first discovering it, but it also happens to be the 20th anniversary of the play’s first opening and performance. Royal first premiered it in the summer of 2004, back when homosexual representation and discussion was still considered taboo and uncomfortable for many, and it’s interesting to see what has and hasn’t changed with this particular aspect and theme. While LGBTQ rights and representation has truly come a long way in our current social and cultural climate, and homophobia isn’t quite so widespread as it once was, it sadly still does prevail and exist in several places, even (or especially) locally. Many places even now are walking backwards on some of the rights and medical treatments that make life for those of the LGBTQ communities a viable thing. Adding to this the fact that hardly any aspects of the play or dialogue feel too dated and could easily take place today lends itself well to the overall story for better or worse.
Besides sexual identity, death and the age-old debate of what lies beyond this life plays a prominent role in this story. While it’s likely most of us are no strangers to losing beloved pets or cherished family and loved ones, we all have our existential moments and what-ifs that run through our minds in regards to this topic. A recent loss that hit me incredibly hard was the loss of my lifelong best friend last August, my Grandpa David Max Tyler II. Much like CB, I felt completely lost and adrift upon his sudden passing two days after I last visited him. In regards to the play's central theme of identity, my grandpa was an essential factor in shaping mine for the better.
Following his passing, it was only a couple weeks later after I had been inducted as a WTC ensemble member that I told Jim about my sincere desire to put on this show someday. You can only imagine the look of genuine surprise and delight I felt upon him asking me if I’d like to do it here with his help. For that, I’m forever in debt to you, Jim Martin. Life’s timing certainly has a funny way of working out sometimes.
I’ve done my absolute best pouring my heart and soul into honoring this text and beautiful story, along with these true to life characters that were so near and dear to Schulz, but that Royal also saw untapped potential and depth in. Everything from the costumes (I first sketched the costume concepts for each of the characters for a costume design class during my time in UVU’s theatre arts program back around 2018 or 19), casting (human connection is so important, and I owe my amazing cast and stage manager my everlasting gratitude and love), set pieces, music choices and cues all came from my mind and heart. It’s my sincere hope that you all see that amount of love and passion translated to the stage here in front of you tonight.
Love,
Mitch Tyler
Native to the Midwest, Eli is new to Utah and this is his first show with WTC! He originally auditioned for Matt because he has met a lot of Matt’s in his life and has been making fun of them in equal measure. Outside of theater, Eli works as an ecologist and is passionate about the environment, all kinds of instruments/music and many other nerd things.
Erica Berger (Van’s sister) is a teacher who lives and works in Ogden, UT. She hails from Brooklyn and has enjoyed theater since junior high, but this is her first performance with WTC. She is excited to be part of this stellar cast and is stoked for this opportunity to dip her toe in the SLC theater world.
Lina Boyer is excited to be making her Wasatch theatre debut! She's a Salt Lake City local and a recent graduate from the actor training program at the University of Utah. Lina would like to thank her friends and family for their support.
ELLA FRANK is an incoming Junior in the Actor Training Program at the University of Utah. While here, she performed as an ensemble member in YTUs production of Seussical and in the UofU Department of Theatres production of Dancing at Lughnasa (US Maggie). She has also been a part of a new work through Wasatch Theatre Company called Tent Girl. She’s so excited to be in another production here at the co-op!
Ethan is a graduate of the Actor Training Program at the University of Utah. He is excited to be working with WTC once again after portraying Jaxton in their production of ‘Thanksgiving Play.’ Ethan is thankful to his loved ones for their continued support.
Aussie Marie (Tricia) is a comedian from Salt Lake City, Utah. She is excited to be working with WTC for another season. Recent work includes Art For Eddy’s Sake (Christine) and The Open Syrup: A Serial Play (Viola, Zarillium, PomPom). She can mostly be found onstage with Quick Wits Improv. When not performing Aussie came be found playing poker or smelling the flowers. Aussie would like to dedicate this performance to her late boyfriend who died by suicide. “Be Understanding” -Joe
Chandler Reddington is a longtime lover of theatre. Since Jr.High he has been in a wide range of plays and musicals. After taking a break from the stage, Chandler is ready to dive back in with Wasatch Theatre Company! He has been so appreciative of all the love and support from his family and friends, and is very excited to be part of this show with Wasatch Theatre Company.
Bert V. Royal is an American playwright best known for his work in theater and film. Raised in Florida, Royal developed a passion for storytelling from a young age, often immersing himself in literature and theater.
After studying theater at Florida State University, Royal embarked on his professional career, quickly gaining recognition for his unique voice and sharp wit. In 2007, he burst onto the theater scene with his breakout play "Dog Sees God: Confessions of a Teenage Blockhead." This irreverent and poignant reimagining of the "Peanuts" characters tackles themes of adolescence, identity, and societal pressures, earning critical acclaim and a devoted following.
"Dog Sees God" propelled Royal into the spotlight, leading to further success in both theater and film. His works often explore the complexities of human relationships with humor and depth. Royal's writing style is characterized by its blend of dark comedy, raw emotion, and social commentary.
In addition to his theatrical endeavors, Royal has also made contributions to film and television. He wrote the screenplay for the 2010 film adaptation of "Easy A," starring Emma Stone, which garnered widespread acclaim for its clever script and sharp satire.
Throughout his career, Bert V. Royal has continued to captivate audiences with his thought-provoking narratives and distinctive voice. With a talent for crafting stories that resonate with audiences of all ages, he remains a prominent figure in contemporary theater and entertainment.
Mitch is beyond grateful and honored to be making his directorial debut in addition to starring in his dream play and role! He has been performing in theatre and film productions since he was 10 years old, ranging from Shakespeare (A Midsummer Night's Dream' at the Parker Theatre, 'As You Like It' with New World Shakespeare, and 'Spicy Shakespeare' with Mad King Productions), musicals ('A Christmas Carol' at Draper Historic Theatre and '12 Dancing Princesses' with Sugar Factory Playhouse), and everything else in between! He once served as the understudy for Hamlet at a competition for the Utah Shakespeare Festival when he was 13. His senior year of high school, he was inducted into the International Thespian Society. An avid cinephile, whenever he isn't acting in films, Mitch enjoys watching them in his spare time. Furthermore, he is a proud ensemble member and frequent collaborator with Wasatch Theatre Company, having just performed in both their 'Fractured Fairy Tales' library tour and 'Short Shorts' play series last summer in addition to taking part in various script readings with them as well. He also currently serves as a board member of the Cultural Arts Society of West Jordan. From the bottom of his heart, Mitch would like to thank Jim Martin for his continual friendship and support this past year, his hard-working and talented cast, as well as his family and late Grandpa Tyler for always encouraging him to follow his dreams and passions and to find the joy in all that he does!
WTC Ensemble
WTC Board of Directors
Sharon Daurelle
Jim Martin
Phillip Vernon
Sharon Daurelle
Jim Martin
Phillip Vernon
Coming next
(click on the image for tickets)
Coming Soon
(click on the image for tickets)
Tickets coming soon: