BWW Q&A: Gabbie Adner Talks PERFECT WORLD at El Portal Theatre

Perfect World is written by Librettist & Co-Lyricist Alan Edmunds with music by Composer & Co-Lyricist Richard Winzeler, and Directed and Choreographed by Kay Cole. 

What does it feel like to bring a brand-new musical to life?

My younger self would be pinching herself because this is a dream come true for her. Being a part of something brand new is so special. You get to see it grow, evolve, and become something. In my opinion and experience, it’s the most creative opportunity an artist gets to be a part of. Originating roles and being part of pieces that are created from the ground up is my personal goal as an artist and performer. There’s something so special about making a character your own and bringing yourself to the role.

What aspects of Barbara’s life or legacy do you admire most?

I admire her fearlessness and imagination as a young writer. To be that creative and brave enough to publish two books by the age of 14 is incredible, especially during that era. I find it incredibly inspiring to many young artists who love to share their passions, whether it be dancing, writing, singing, painting, etc. I also think it’s astounding that she reviewed A. A. Milne’s work (the author of "Winnie the Pooh") at the age of 14.

As an actor, what do you find most exciting or challenging about portraying a historical figure?

It’s exciting to do all the research! I completely geek out on historical musicals. I think I was meant to be a dramaturg at some point in my life, but I find it really fascinating to step into the shoes of someone who existed and study their life. It’s been really neat looking over her early works and reading her books. I’m currently reading her novel "The House Without Windows." The most challenging part is trusting the work and process and trying not to get in your head. I catch myself thinking, “Is this what Barbara would do?” when I should be allowing the work to speak for itself. It’s been rewarding allowing a dreamer like myself to shine through Miss Follett—she’s become an extension of me.

How has working on this production influenced or inspired you personally or artistically?

Artistically, it’s challenged my power of creativity and play. Because it’s a new musical, you have to be comfortable with change—whether it be new blocking, new lyrics, new direction, or cut verses or scenes. I love to improv and make skits with my friends in my personal life, which has heavily influenced my creative brain. I’ve also been fortunate enough to have worked on new works before Perfect World, such as Belles Are Swinging (written and directed by James Mellon, with score by Scott DeTurk and James Mellon) and Peril in the Alps (written and directed by Steven Dietz), so I’m not a stranger to change. Seeing the script and score evolve from the first rehearsal to now is truly a gift. You don’t get that experience with a show that’s already been created, like Guys and Dolls, Mean Girls, or A View from the Bridge. It’s really special as an artist to be in the room where it happens. You not only gain more insight into the character, but you’re also able to communicate and collaborate with the writers and director at the same time.

What do you hope audiences will take away from Perfect World?

I hope audiences remember to never forget about their inner child. When we grow up and see how harsh reality can be, we sometimes forget how beautiful life is and how simple joys can make a difference. The power of play and imagination is so important, especially to aspiring artists. We all have a young dreamer inside of us, and I hope this show lets people embrace that side of themselves again.

Who was Barbara Follett, and what really happened to her?

Perfect World is a mystery musical set in the 1920s, telling the true story of a child prodigy who vanished at 25. From the age of four, she wrote prolifically, created her own utopia, Farksolia, and published two acclaimed novels by 14, but life and love conspired against her. The musical follows her remarkable life adventure and the police hunt that followed, driven by three voices who never gave up—Young Barbara, adult Barbara, and her mother Helen—alongside Captain Stahl, the lead investigator.

Step into her world of ambition and imagination, leading to a disappearance that changed everything.

Los Angeles Awards - Live Stats

Best Musical - Top 3

1. JESUS CHRIST SUPERSTAR (Hollywood Bowl)

9.2% of votes

2. HAIR (Conundrum Theatre)

5.2% of votes

3. HEATHERS (Backyard Playhouse: Treetop Production)

5.1% of votes

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