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.

Family Friendly

Drama Book Shop Highlights

 The Drama Book Shop will host playwright Richard Wesley, who will be discussing and signing his new anthology, on Thursday, Feb. 18 at 6 pm. 

Richard Wesley, Associate Professor in Playwriting and Screenwriting, was educated at Howard University in Washington, DC, graduating with a BFA in 1967. His plays include, The Black Terror, a Drama Desk winner, produced at the New York Shakespeare Festival's Public Theatre, in 1971; The Mighty Gents, an Audelco Award winner, premiered on Broadway in 1978.

The 1970s also saw Wesley embark on a motion picture career, penning screenplays for the motion pictures, Uptown Saturday Night (1974), Let's Do It Again (Warner Bros., 1975), Native Son (1984) and Fast Forward (Columbia Pictures, 1985). Prof. Wesley's teleplays include, Murder Without Motive (1991), Mandela And De Klerk(1997), and Bojangles (2000). 

He has also written episodes for the television series, Fallen Angels and 100 Centre Street. Wesley served as an Adjunct at the following institutions: Manhattanville College, Wesleyan University, Borough of Manhattan Community College and Rutgers University. 
ury.

His anthology will be available for sale.

Christopher Shinn will be at the store for a discussion and signing of his work on Friday, Feb. 19 at 5 pm.

Shinn is the author of 11 plays, five of which premiered at the Royal Court: Four, Other People, Where Do We Live (Obie Award), Dying City (Pulitzer Prize finalist), and Now or Later, which was directed by Dominic Cooke and shortlisted for the Evening Standard Theatre Award for Best Play. His adaptation of Hedda Gabler premiered on Broadway in 2009 in a production directed by Ian Rickson.

A Guggenheim fellow, he teaches playwriting at the New School for Drama. His most recent play is An Opening in Time, which premiered at Hartford Stage this past fall, and his 2013 play Teddy Ferrara completed a run at the Donmar Warehouse in December 2015. His newest project is The World Will Not Contain Us, a musical with David Hancock Turner.

The discussion will be moderated by Drama Book Shop staff member and fellow playwright, Steven Carl McCasland. It will be followed by a Q&A with the audience, and a signing on the main floor of the book shop. Copies of Mr. Shinn's plays will be available for sale at the shop.

Now in its 99th year, The Drama Book Shop is located at 250 West 40th Street, between 7th and 8th avenues. Admission to the discussion is free.

Off-Broadway Theater Review: Chatting with the Tea Party TOP PICK

John E. Brady, Maribeth Graham, Jeffrey C. Wolf, and Richard Kent Green. Photo: Matthew Dunivan

Chatting With the Tea Party

a documentary‐style play   

By Rich Orloff

Directed by Lynnette Barkley

Robert Moss Theatre

Through Feb. 21

By Lauren Yarger

What's It All About?

Playwright Rich Orloff (Funny As A Crutch), a self admitted pretty liberal New Yorker, realized that while he didn't like a lot of what the Tea Party stood for, he didn't actually know anyone who was a member of it. Driven by a desire to answer the question "Who are these people?" Orloff conducted  more than 63 hours of interviews with leaders of more than 20 Tea Party groups around the country. 

Jeffrey C. Wolf plays Orloff.  John E. Brady, Maribeth Graham and Richard Kent Green play a variety of characters from the folks Orloff interviewed to political figures (Dialect Coaching is by Page Clements). All of the dialogue uses for the Tea Party members is real, taken from the interviews.

In the course of chatting with Tea Party folks, Orloff finds himself actually liking some of them. He doesn't agree with their politics when it comes to gun control, abortion and other issues, but he comes to respect most of them as decent, patriotic people, deeply concerned about the country and willing to take action about the things they feel passionate. 

Without keeping an open mind, he wouldn't get far from his early thought that "The Left and Right don’t just have a difference of opinion, we live in different realities."

What Are the Highlights?

One of the best scripts of the season, Broadway or Off. The action, directed by Lynette Barkley, keeps us engaged as the skilled actors walk in and out of personas. Orloff has the gift of slick writing, so the many elements are anchored (often with some sharp humor) and paint quick vivid images of the characters without relying on stereotype. The project itself is pretty brave for a New York playwright (showing any empathy for someone who is not a full-out, Obama-supporting, liberal Democrat usually doesn't win you any friend here -- a reaction amusingly captured in the pay by reactions from the playwright's friends.)

While Orloff's own opinions are not hidden, his reporting skills remind us of how journalism should be -- looking for information and reporting truth rather than pushing an agenda. I found the play timely, powerful and refreshing. The significance of the song "Why Can't We Be Friends" playing at intermission is not lost.

What Are the Lowlights?

None. Go see it.

More Information:

The set and lights are designed by Nick Francone, with costumes designed by Orli Nativ, and projections designed by Paul Girolamo.

Performances are Thursdays at 7 pm, Fridays and Saturdays at 8 pm and Sundays at 3 pm through Feb. 21. Tickets are $18: www.chattingwiththeteaparty.com.

Thriving After Breast Cancer

Developed & Performed by Duvall O'Steen Directed by Gretchen Cryer _____ Thursday, February 11 / 7:00 pm Guild Hall / 1 E. 29th St. / NYC 10016 Join The Episcopal Actors' Guild for Thrive, a moving chronicle of a breast cancer survivor's health and personal challenges, as well as her victories.  Based on "The Cancer Club" by Nuala Forsey, Thrive weaves together poetic pieces and memoirs that challenge our understanding and compassion for those touched by illness. Directed by Gretchen Cryer of I'm Getting My Act Together and Taking It on the Road. A wine and cheese reception will follow.  Suggested: $10/members / $15 non-members RSVP: office@actorsguild.org / (212) 685-2927

Broadway Theater Review: School of Rock TOP PICK

Evie Dolan, Alex Brightman, and Brandon Niederauer . Photo by Matthew Murphy,

School of Rock Teaches Lessons About How to Make a Great Musical

By Lauren Yarger

It has music by Andrew Lloyd Webber, a book by Julian Fellowes (“Downton Abbey”) and a high-powered rock star performance. If that isn’t enough, School of Rock, the stage adaptation of the popular 2003 movie starring Jack Black, has a ton of tiny talents – amazing pre-teen kids who sing and dance and play their own instruments to rock out the house at Broadway’s Winter Garden Theatre.

It’s really good. In fact, I saw it twice because the first two times I had seats, star Alex Brightman was out and I had to go back. It was no hardship, believe me. (Thank goodness it wasn’t China Doll.)

Webber has composed a score (supervised by Ethan Popp) that doesn’t sound anything like his past accomplishments (Evita, Cats, Jesus Christ Superstar to name a few), but which totally captures the spirit of this comedy and setting (lyrics are by Glenn Slater). Fellowes also shows his ability to diversify, so no one in his adaptation of Mike White’s screenplay sounds like Lord Grantham chatting with Mr. Carson….

The story follows ne’er-do-well Dewey Finn (Brightman) who gets kicked out of his band right before the Battle of the Bands competition. He has been crashing at the home of his best friend, Ned Schneebly (Spencer Moses), but when Dewey can’t come up with the rent, Ned’s shrill, bossy girlfriend, Patty (Mamie Parris) tells Ned to throw him out.

Desperate, Dewey pretends to be Ned and shows up for a high paying substitute teaching gig at Horace Green, a posh, private prep school overseen by uptight Rosalie Mullins (Sierra Boggess) who has as much love for rules and order as Ned does for rock music. The two, obviously, immediately clash.

When Dewey discovers that some of his kids play instruments and sing, he urges them to trade classical for rock and they become “The School of Rock” to compete in the Battle of the Bands. While they rehearse and keep the band a secret from their parents and Rosalie, the “teacher’ and his students form a bond, especially since Dewey believes in them and listens to their needs when their parents won’t. The kids express their pain and longing for parental approval in “If Only You Would Listen.”

Dewey becomes a real friend to:

·         Shy Tomika (Bobbi Mackenzie, vocals) who can’t make her gay fathers understand that she misses her old school and friends even if they think the new prep school is best for her. When she finds her voice, it’s with a heartfelt rendering of “Amazing Grace” that makes us wonder how such a powerful voice is coming out of such a little girl.

·         Geeky Lawrence (Jared Parker, keyboard) who doesn’t know how to fit in and be cool. He is a hoot as the nerd sex god.

·         Fashion-loving Billy (Luca Padovan) who doesn’t want to play football like his father and grandfather before him, but who prefers to read Vogue and design the band’s costumes.

·         Over-achiever Summer (Isabella Russo) who manages her mother and is obsessed with getting gold stars and getting into the right college.

·         Zack (Brandon Niederauer, electric guitar), who could be the next Jimmy Hendrix, but whose work-obsessed father never seems to have time to listen.

·         Freddy (Dante Melucci, drums), whose father wants him to pick up a hammer rather than a drum stick.

·         And the rest of the band: Katie (Evie Dolan, bass), James (Jersey Sullivan), Sophie (Corinne Wilson), Madison (Shahadi Wright Joseph), Shonelle (Taylor Caldwell), Marcy (Carly Gendell) and Mason (Ethan Khusidman).

Director Laurence Connor puts the cast through fast paces on a simple, quick-change set designed by Anna Louizos, who also designs costumes. Most of the outfits for Boggess are rather ill-fitting -- perhaps a visualization of “uptight” ? -- but they definitely are unflattering.  Direction gets an assist from excellent Lighting Designer Natasha Katz who helps focus the action.

JoAnn M. Hunter (with Associate Choreographer Patrick O’Neill) uses a lot of high-energy jumping and stomping to give the kids movement for the loud rock numbers “Stick it to the Man,” and “You’re in the Band.”

Brightman gets a workout as he rocks the school for almost two and a half hours (you get the feeling he genuinely likes these kids while he’s doing it) and makes Headmistress Mullins wonder what happened to the free-spirited girl she used to be. That ballad, “Where Did the Rock Go,” is the type of soul-gripping melody that makes Andrew Lloyd Webber one of my favorite composers.

Some things missing in this otherwise very satisfying production:

·         Any spark of chemistry between Dewey and Rosalie. They don’t seem a good match and Boggess doesn’t seem comfortable in the role. We never quite believe her uptight schoolmarm or her secret obsession with Stevie Nicks.

·         Sound (designed by Mick Potter) problems occurred in both performances I saw. Can’t hear the lyrics in some of the louder numbers and for part of a performance, Boggess’s microphone wasn’t working.

Don’t let that stop you from seeing this musical, though. I totally enjoyed it – twice – and would go see it again. The understudies I saw in a number of roles rocked out just as well as the stars, especially young Ava Della Pietra who captured the audience’s heart with Katie’s bass face.

School of Rock plays at the Winter Garden Theatre, 1634 Broadway, NYC. Performances are Tuesday through Thursday at 7 pm; Friday and Saturday at 7:30 pm; Wednesday and Saturday at 2 pm; Sunday at 3 pm. Tickets are $59 - $145: (212) 239-6200;

schoolofrockthemusical.com..

Additional cast:

Emily Cramer, Natalie Charle Ellis, Alan H. Green, Michael Hartney, John Hemphill, Merritt David Janes, Gavin Kim, Jeffrey Samuel Kishinevskiy, Lulu Lloyd, Jaygee Macapugay, Cassie Okenka, Patrick O’Neill, Ava Della Pietra, Sofia Roma Rubino, Tally Sessions, Jesse Swimm, Jonathan Wagner, Hayden Wall, Jeremy Woodard

Christians might also like to know:

--  God's name taken in vain

-- Language

-- Homosexuality

-- Lyrics have Jesus throwing Dewey a beer

-- A prayer to the gods of rock

Broadway Shows Back on Today

Lin-Manuel Miranda (center) and the Public Theater company of Hamilton. Photo: Joan Marcus.

ALL BROADWAY MATINEE PERFORMANCES TO PLAY AS SCHEDULED TODAY, SUNDAY JANUARY 24

All Broadway Shows Cancelled Today

With a ban on travel in New York and suspension of public transportation by government authorities and additional safety precautions implemented due to severe weather, all Broadway matinee and evening performances on Saturday, Jan. 23 are cancelled.

Normal operations are expected to resume for tomorrow’s Sunday matinees.

Additional information will be posted on BroadwayLeague.com as it becomes available.  For information about refunds and exchanges, theatergoers should contact their point-of-purchase.