Seemingly simple in structure and subject matter, this musical based on Charles M Schultz’ much-loved comic strip Peanuts, is actually a deceptively challenging piece of theatre.

Not only do the performers need to channel their inner child in a convincing and humorous way, but they must also communicate the irony of childhood as remembered from an adult perspective, which is an intrinsic element of the original series.

This is a big ask for any company but happily the newly-formed group, Melbourne Musicals, is almost entirely up to the task.

First performed off Broadway in 1967, the musical was written by Clark Gesner and ran for more than 1500 performances. Mostly light-hearted, it tells the story of the ‘everyman’ Charlie Brown who can’t stop worrying about small things as he searches for the deeper meaning of life.

Tightly directed by Bryce Ives, this production opens on a high with the upbeat, well-sung 'You’re A Good Man Charlie Brown' which sets the mood for the rest of the show.

James Cutler is immediately endearing as Charlie Brown with his baffled, harried demeanour and sweet, light-as-a-feather singing voice. You just want to reach out and give the goofy guy a hug.

Matt Perfect as Linus is also huggable with his shy, cheeky grin while Darryn Gatt does well in the difficult role of Snoopy. Although Gatt hammed it up a little too much at times for my taste his version of 'The Red Barron' was inspired.

Emma Caldwell stamps her authority on Lucy but could ease up to reveal the character’s hidden vulnerability while Richard Hughes is a fine and amiable Schroeder. But for me the stand-out performance in this strong ensemble goes to Laura Burzacott as the coquettish and adorable Sally. Her rendition of 'My New Philosophy' is pitched brilliantly and about as good as you’re likely to see.

Choreography by Jessica Barlow and musical direction by Adrian Portell is fun and frenetic throughout, capturing the freewheeling energy of childhood well and is best displayed during the bigger numbers when everyone is on stage such as 'Beethoven Day' in Act 1 and 'T.E.A.M (the Baseball Game)' in Act 2.

Good use is made of the available space and acoustics at the Cromwell Road Theatre, which means it often feels like there are more people on stage and more voices than there actually are, particularly in songs such as 'The Book Report' and 'Happiness'. My only objection in terms of staging is the strange decision to set some scenes on the floor out of the line of sight of most of the audience.

There are also times when the cast’s boisterous energy borders on being laboured, which strip impact from what are meant to be quieter, subtler moments. But this is mostly due to sheer enthusiasm, which can to some extent be forgiven.

The great thing about the Peanuts series, which this production captures well, is that childhood is rarely full of doe-eyed, Disney bliss. In fact it has its torments and tragedies, frustrations and failures, hopes and happy times just like the rest of our lives.