Off-Broadway Theater Review: Daddy Long Legs

Adam Halpin and Megann McGinnis. Photo: Jeremy Daniel

A Delightful Period Piece Surprises
By Lauren Yarger
Period pieces can tend on the boring side, especially if there isn’t much plot, which seemed to be the case when I read a summary of Daddy Long Legs, getting an Off-Broadway run. A girl writes a bunch of letters to a mysterious man. . .

Not having read the book by Jean Webster nor having seen the 1955 film based on it starring Fred Astaire and Leslie Caron (or the one before that in 1931 starring Janet Gaynor) I fearfully wondered whether the relationship between the letter writer and receiver might have, shall we say, “shades of grey.” I couldn’t have been more wrong. And I should have my mind washed out with soap immediately.

This stage version (with a book written by John Caird , who directs) is a delightful voyage into turn-of-the-century New England. In 1908 Jerusha Abbott (Megan McGinnis) is the oldest orphan in the John Grier Home when one day, a rich anonymous benefactor (Adam Halpin) decides to send her to college. The stipulations are that she must write him a letter once a month and never know his identity.

She names him Daddy Long Legs (because that was her impression of him when she saw his shadow as he left the orphanage) and begins a correspondence in which she describes her experiences. Her imagination shapes the man to whom she is writing and he becomes a sort of romantic figure in whom she confides.

Meanwhile, Jervis Pendleton -- the real identity of Daddy Long Legs -- at first feigns disinterest in the letters, but Jerusha's bubbly, upbeat spirit captures him and he soon finds himself falling in love. He contrives to meet her as Jervis, but doesn't reveal that she has been writing to him for months. Can he remain silent when he thinks she really loves Daddy Long Legs even though another man is pursuing her?

The engaging story is a delight. On the book-trimmed, paneled set designed by David Farley (who also designs the period costumes), the characters exchange thoughts and reactions as Jerusha writes letters and Jervis reacts to them. Caird (Les Misérables), strategically places the actors to convey action on stage at the same time without destroying the illusion of their physical separation (Lighting Designer Paul Toben lends a hand toward creating the effect as well.). The characters are brought together through harmonies in the score from Paul Gordon (Sense and Sensibility), who also writes the lyrics. Musical Direction is by Brad Haak (who also does the arrangements and orchestrations). He conducts a skilled three-person band. 

At two hours (with an intermission) the show feels a bit long. The score is pleasant, but not outstanding, and while it's a treat to hear McGinnis sing anything, no specific tune stands out or replays in the mind later. What does stay with you is a contented feeling (and the fact that Halpin and McGuinness are real-life husband and wife adds to it).

A side note: In December, Daddy Long  Legs became the first Off-Broadway show to livestream. It was seen by more than 150,000 people in 135 countries around the world.

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