Review: KEN LUDWIG’S DEAR JACK, DEAR LOUISE at TampaRep

When the idea of seeing this Ken Ludwig play came to fruition, I was immediately enamored with the idea that it is based on a true story. Chronologically retelling the story of his parents courtship amidst the backdrop of war, specifically World War II, created a strong presence, I knew would resonate with all who witnessed its telling.

Told in an Epistolary format, the play follows a shy U.S. Army Doctor in Oregon and an aspiring Broadway Actress in New York, who fall in love soley based on writing letters to one another while being divided by war.

As I was sitting in The Audience (i) began remembering a premise of a film released in 2006, based around  two people falling in love through letter writing. The only difference is not only were they seperated by geographical constraints, but also time.

As I began watching the performance of Dear Jack, Dear Louise, it reminded me of this film, which has turned out to be one of my favorite films, which is now 20 years old, and it brought me back to the tagline of the film,

“ How do you hold onto someone you’ve never met...”

You see, in the film The Lake House, Keanu Reeves and Sandra Bullock, an architect and doctor respectively, fall in love through letters exchanged via a magical mailbox at a lakeside house, despite living two years apart.

Thus brings me back to the premise of Ludwig’s play, whereas his characters exchange letters over the course of 3+years before ever meeting.

The opening sequence of the film, plays a song by The Clientele entitled “ I can’t seem to make you mine,” In it whos lyrics describe almost perfectly the premise,

“I can’t seem to make you mine, Through the long and lonely night, And I try so hard, darling, But the crowd pulled you away, Through the ribbons and the rain, And the ivy coiled around my hands.”

We all know that the artform of letter writing is in manner of speaking a thing of yesteryear, but at its heart is why I feel this play resonates with so many. Nowadays so much of the social constraints that we not only put on one another, but also the ones brought on by society are so plagued with social media, and dating apps, that a form of courtship, such as letter writing almost seems archaeic at best. So many people long for the tropes of bygone days, where we would send letters, or cards in the mail. So much has gone to the digital age, and too many of us are so consumed with the idea of swiping left or right, I wonder, do we even know how to go about addressing a letter? Even emails have signatures that are automatically attached, so you barely have to think.

In the days of the digital age, and in more recent times, the ChatGpt/AI era, the computer does so much for us all, that this idea of courtship, the fumbling for the right words, seems almost nonsensical at best.

So, again, “how do you hold onto someone you’ve never met...?”

In Dear Jack, Dear Louise, I ask myself just that. However, like many Epislotary style plays, performers normally stand and read verbatim word after word of their letters. In Ludwig’s play, the characters move freely about the space, and rarely cross paths, It almost allows us to witness their stream of consciousness as they write. Its like witnessing a Episoltary Last Five Years. Rather than listen to the words being read, we are witnessing all the awkwards misanthrope adventures that comes with new love, and what it means to learn about one another first hand. The only issue with the script itself, is sometimes it leans more towards a game of awkward emails/or texts between the pair. You never truly get the sense of time lapse while waiting for letters, unless one doesn’t respond immediately, which leaves another, repeating their name, like they fell asleep on the telephone.

Regardless of the nature of the actual writing, the script is something of a marvel in its heart. It proves that no matter the material, filling the space with performers who can deliver the material with gusto, and fully believe in the work they are presenting, will allow the audience to forgive any misgivings.

TampaRep and Director Robin Gordon have established a top-notch pair to carry the events of the story. The company is made up of two of the strongest actors to ever grace area stages. Cameron Kulby plays Jack, the shy, awkward Doctor with the most sincere heart. Katie Davis plays Lousie, respectively, and brings so much gusto to her delivery, that its impossible to look away, and you hang on every word.

Cameron Kulby is exceptional in his portrayal of Jack. He begins awkward and nervous, almost rigid, but as the story progresses, so does his resolve. He falls captive to the idea of love, and the woman on the other end of the letters. He lets go, and sails to new heights. The war scene in Act 2 is marvelously rendered, and handled with the most sincere and confident hand. Its a magnificent turn to watch, and probably top of the list of my favorite roles of his to date.

Katie Davis will blow you away in the role of Louise. She is so on the cuff, and wears her heart on her sleeve. He delivery is rapid fire, and you get a sense that she is a one woman USO. Her delivery never comes across forced, or falsified, but rather grounded in nature, and her heart is wildly abandoned, and you fall in love right along with her.

Robin Gordon directs with the strongest of hands and gets the most of her performers. The pacing is perfectly spot on, and the ups and downs of these two characters are fully realized, and exceptional to uphold. Dean Wick’s set design is marvelous, and the floating letters high above their heads is mesmerizing to witness. Lighting Design by Celeste N. Silsby Mannerud works wonders throughout the show, and is especially highlighted in the battle sequence of Act 2. Georgia Mallory Guy’s sound design works great throughout, and especially great during the news squences, really bringing everyone into the moment.

Much like I’m sure many sentiments have been shared, it was hard to find yourself a dry eye in the house. The show is so dynamic and delivered with such top notch precision, you almost feel transported back to the time when this actually happened. Gone are all the tropes and renderings of today, and you feel like you are a fly on the wall in the 1940’s and its such a marvelous feeling.

Dear Jack, Dear Louise did what most plays strive to do, leave the audience wanting more, and also feeling as if they can find a part of themselves in these characters. Never once since seeing the show have I had a moment, where its characters have not crossed my mind. The true magic of storytelling is the imapct it leaves on your heart, and in the current world we reside, if we can all collectively celebrate that magic, then as artists, and as patrons our job is complete.

TampaRep’s production of Dear Jack, Dear Louise, played the Straz Center’s Shimberg Playhouse, and as of this writing has closed. It played its final performance July 26, 2026. You can visit www.tamparep.org for information about future performances, and their upcoming season, where you to can “Come together with TampaRep.”

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