Megan McGinnis (photo: Jeremy Daniel)
“Daddy Long Legs”
Welcome to a precious little jewel of a musical, “Daddy Long
Legs.” Here is an intimate, sweet and sentimental two-hander that puts no
demands on its intended audience other than to believe in an improbable
romance. Without being cloying and surprisingly without ever being boring
during its somewhat lengthy running time of two hours and twenty minutes
including an intermission, this wholesome almost to a fault musical is the work
of creative team John Caird (writer and director) and Paul Gordon (score).
The result of the pairing
of renowned Britisher Caird (“Les Miz,”“Nicholas
Nickleby”) and Gordon (“Jane Eyre”) is a familiar, if a bit quaint, theatrical
form - epistles. The beauty of it is that it admirably enhances even as it
adheres to its source: Jean Webster’s 1912 novel about a sorrowful orphaned
girl with a talent for writing and the older man who sponsors her education and
indirectly earns her love and devotion. A touch icky you might be thinking, and
it apparently seemed so 43 years later in a largely re-written 1955 musical
film adaptation that starred Fred Astaire and Leslie Caron. And that version
was just one of many that seem to have fascinated numerous stage and screen
adaptors in the years between.
As there have also been numerous dramas and musicals that
have used correspondence to tell a story, there is no revelatory aspect here to
this style. But Caird’s adaptation is a delight and his transposition to the
stage is deft. But what stands out is the especially lovely and persuasive
performance by Megan McGinnis as the foundling Jerusha as does the
ingratiatingly sturdy performance by
Paul Alexander Nolan as her benefactor Jervis, both whom sing well and
expressively and make the growing and purposely unsettling romance seem totally
natural and constantly affecting.
As there is no hint of any perverse sexual undercurrent or
any suggestion that the relationship between Jerusha and Jervis is born of any
psychological aberration, audiences, particularly I suspect teen-aged girls,
will quickly succumb to the anxieties and the youthful ardor of a young budding
writer as she journeys from loneliness to self-assuredness and personal
fulfillment. Built solely on the letters sent by Jerusha to Jervis and never
the reverse, the plot can only be perceived as an unexpectedly charming
conceit. The collaborators have divided the twenty four musical and lyrical assignments well between
the two, although it certainly is Ms McGinnis’ showcase to dominate - which she
does with effervescence and ingenuity. . . much of the latter credit going to
Caird.
Hidden from sight in a loft, the three-piece band provides
fine instrumental support to the abundant, virtually sung-through score. It is
more than listenable without seeking to achieve a level of sophistication that
might have otherwise challenged the delicacy of the plot. In one instance, the
wit in the lyrics early in Act II to “My Manhattan,” as enthusiastically sung
by Nolan, recalls (and without being derivative) that famous peon to the
glories of NYC “I’ll Take Manhattan” by Rodgers and Hart. Pointed, poignant and
plot-propelling arias play an integral part in bridging the various divides
between the two personalities over the course of four years.
Naturally intrigued by the generosity of this man whom she calls
Daddy Long Legs (for a reason I won’t spoil), the once despondent Jerusha
eagerly puts her heart and soul into becoming all she can be as a writer during
her college years fully paid for by Jervis. This is a goal that once seems
beyond her reach in the environs of the John Grier Home for Orphans. Nolan, who
was widely praised as Pasha/Strelnikov in the short-lived “Doctor Zhivago” is
perfectly matched against McGinnis, who has played Jerusha since its 2009
premiere at the Rubicon Theatre Company in Ventura. But it is for McGinnis to
basically define and secure the sparkling tone of the musical. Pretty with
billowing curly hair and seducing us with her joyously expressive face, she is
hard not to fall in love with.
In some ways Nolan has the harder task during Act I as his
character’s intention is to simply be her financial support, but without
letting his true identity be known, referring to himself as Mr. John Smith. It
is only when he finally appears as the very real rich uncle of a classmate do
we get a glimmer of his true reasons for maintaining his false identity. The
credibility factor is increased with this casting (and I’m glad of it) as Nolan
is good-looking, physically trim, and likely only twice her age. Nolan is also
great fun to watch as he plays his dual role with increasing gusto attempting
with diminishing returns to keep his secret.
The very fine unit setting designed by David Farley is also
wonderfully practical as it accommodates a spacious, heavily book-stocked
Manhattan study, Jerusha’s room in the orphanage, as well as other indoor and
outdoor locations. . . with great enhancement from the lighting designer Paul
Toben. The use of a steamer trunks as props that can be turned from a bed into
a mountain are part of the fun in the staging. Farley also designed the early
20th century wardrobe often changed with
a blink of an eye . I also spotted many eyes moist with tears as the story
reached its inevitable end.
Davenport Theatre, 354 West 45th Street
Tickets: $59.00 - $99.00
Telecharge 212-239-6200 or 800-447-7400
Performances: Sunday and Monday evenings at 7:30; Tuesday,
Thursday, Friday, Saturday evenings at 8 pm; Sunday matinee at 2:30 and
Saturday matinee at 2 pm.
