Review: DADDY LONG LEGS at Theatre 29

The novel “Daddy Long Legs” (having little more to do with the namesake eight-legged arthropod than as a glancing description of the story’s antagonist in the mind of its heroine) is a 1912 epistolary novel by the American writer Jean Webster. “Epistolary” refers to the tale being told in the form of a series of letters between the main characters. In short, the action follows the protagonist, Jerusha "Judy" Abbott, as she leaves her orphanage home and is unexpectedly sent to college by a benefactor whom she has never seen.  In future incarnations of the story, it became a stage play penned by the author herself in 1914 and a number of motion pictures starring the likes of Mary Pickford and Janet Gaynor, and the most famous film version in 1955 with Leslie Caron and Fred Astaire.

In 2009, playwright John Caird (Les Misérables / Children of Eden) and composer Paul Gordon (Jane Eyre / Sense & Sensibility) tackled the work as a two-person musical, which is making its desert debut at Theatre 29 for two weeks only through April 15.  The musical would be a challenge for any producing company, not the least for which, the story isn’t as well known as many other works of youth literature.  A cast of two actors leaves no room for weakness in voice nor in acting instinct, the show lives or dies on the strength of that duo alone.  Director Ian Ferris, making his sophomore entry in the director’s chair for this company, intimately understood those realities.  His direction is focused, clean, and emotionally based. This is a weighty challenge considering he chose to have a double cast, splitting the reduced run and offering audiences an opportunity to repeat viewings and receive a different interpretation of the work each time.  As such, that provides innumerable challenges (not the least of which is split rehearsals and double costume plots).  Mr. Ferris expertly creates a universe that is both insular and sprawling.  The stage setting he established features several different locales that are visited with a shift of movement and a wash of lights. The stage might, at first glance, appear crowded.  Once the action occurs, the condensed universe is just the size it needs to be. Steamer trunks dominate the scenes as furniture and as wardrobes and prop storage.  A few wooden chairs provide seating and other more absurdist touches from the crest of a mountain to under the canopy of trees in a rainstorm. A wise choice of raising Mr. Pendleton’s office, where he spends most of the show, on a short riser helps to elevate this locale from the rest Jerusha inhabits. The beautifully soaring score was expertly directed by Audra Puccio Nagby, a San Diego-based Lyric Coloratura Soprano and music professor at Grossmont College.  The production has a lot more sung pieces to it than your Broadway standard.  The score is tricky, with an incredible number of harmonies and split singing, often with each performer starting or finishing the other’s sentences in verse. For both casts I had the honor to witness, the timing was flawless and professional grade. Scott Clinkscales' lighting plot was very well done, featuring shifting colors on the stage and keeping everyone continually lit as necessary, but allowing the mood to be darker and provide the shadow play to occur and enhance the storytelling.   The sound was crisp and not overpowering to this smaller grouping. Costume Designer Tera Bottorff kept the dressed world era specific yet easy to change into and out of most on stage in front of the audience. This reviewer felt a challenge as a viewer: How does one give appropriate time to a singular production but with two quite different ensembles?

The solution is to address each cast in their own paragraph, along with their individual show nights so the reader (if they are quick) can get their seats for the correct nights.  This reviewer would advise that, if it is possible, audiences should see both casts perform the work.  This is unique, not akin to seeing a touring show featuring their swing players on a matinee.  These two sets of performers are equally stunning and solidly worthy of their own spotlights.

April 5, 7 & 13 - LIYAN MCNELTIER as Jerusha Abbott and JERICHO MCNELTIER as Jervis Pendleton

Ms. McNeltier’s embodiment of Jerusha Abbott, from the mischievous “oldest orphan in the John Grier Home” to a confident, educated woman over the short four years in the life of the story is a revelation.  Her earnest portrayal of this “modern” woman and all the twists and turns her life path treads come from a place of deep understanding of what makes the young woman tick.  Her range of emotion, from wide-eyed wonder to adulation of first love (paired with the despair of that love’s apparent loss) to outright pained anger in betrayal, Liyan rides that trolley to each station along with the audience.  With a beautiful voice and a satchel full of tenacity and spunk, the audience willingly joined her on that ride.  Her benefactor she named Daddy Long Legs because his “rules” in extending his generosity included her monthly letter writing which he would emphatically never respond to.  She only saw him as a silhouette in a doorway once which inspired her to create the pet name and build a bit of a fantasy personality around it.  Ms. McNeltier convincingly built that persona, so much so that Mr. Smith (the rather unimaginative self-imposed pseudonym for Mr. Jervis Pendleton played by real-life husband Jericho McNeltier) came to believe it himself.  Mr. McNeltier’s rich baritone added gravitas to such numbers as “Charity” and “My Manhattan”.  The role of Jervis is rather the straight man to Jerusha’s more loquacious personality. His comedic skills shine through in an understated and more realistic manner.  His reactions to the letters, even when he had no dialogue, are priceless.  The facials for both players here tell half the story by themselves.  Never forced for a cheap laugh nor strained, their virtual interactions through the medium of letters were tremendous fun and veritably real.  His amusement at her early prodding of “how old he must be” or the shade of his indubitably thinning hairline graduates to righteous frustration (fear really) that she might set her cap for another man, thus causing him to get a little control-y.  This duo has obvious chemistry and their talents offset and enhance each other perfectly.

April 6, 12 & 14 - ELIANA HICKS as Jerusha Abbott and GRAHAM COOLEY as Jervis Pendleton

Miss Hicks’ take on Jerusha comes from a place of youth and explosive energy.  With a lilting soprano and comedic chops to match, she is a formidable scene partner.  Grabbing the audience’s attention from her very first utterance, Miss Hicks demands your attention.  Her Jerusha is gregarious, opinionated and a young woman engaged to make her mark on her world.  A fierce friend and one who doesn’t suffer fools lightly, this incarnation of Miss Abbott is a powerhouse.  Lacking none of the emotional intensity the character requires, Miss Hicks proves once again that she is an actress who can tackle anything.  Her paramour in waiting is here portrayed by Graham Cooley.  Also sporting a comedy background, Mr. Cooley keeps his Jervis controlled and in charge (especially when he isn’t!)  With a lovely Bari-tenor, his takes on “The Man I’ll Never Be” and his duet with Miss Hicks, “Like Other Girls,” are soulful and endearing. Here also, the facial reactions between these two as spot on.  I dare a Broadway team to do better.

“Daddy Long Legs” is a sumptuous night of theatre, nourishing for the soul and a reminiscence of simpler times.  You will laugh (a lot!), and (unless you are made of stone), a tear or two will wet your eyes. One of the finest productions Theatre 29 has put on in years, even amongst a strong current season of shows.  “Daddy Long Legs” will be playing at Theatre 29 on Friday and Saturday evenings at 7:00PM and Sunday matinees at 2:30PM through April 15th.  Tickets are available at theatre29.org/tickets, by calling (760) 361-4151 or at the door.

Coming up later this season at Theatre 29:

DISENCHANTED – MAY 24 – JUNE 9 - Book, Music & Lyrics by Dennis T. Giacino - Developed with and Originally Directed Off-Broadway by Fiely Matias – Directed by Charles Harvey: Poisoned apples. Glass slippers. Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. The original storybook heroines are none-too-happy with the way they’ve been portrayed in today’s pop culture so they’ve tossed their tiaras and have come to life to set the record straight. Forget the princesses you think you know – these royal renegades are here to comically belt out the truth. RATED NC-17 Contains adult language and themes.

CLUE – AUGUST 16 – SEPTEMBER 1 - Adapted from the screenplay by Jonathan Lynn, written by Sandy Rustin, additional material by Hunter Foster and Eric Price – Directed by Kathryn Ferguson: Based on the iconic 1985 Paramount movie which was inspired by the classic Hasbro board game, Clue is a hilarious farce-meets-murder mystery. The tale begins at a remote mansion, where six mysterious guests assemble for an unusual dinner party where murder and blackmail are on the menu. When their host turns up dead, they all become suspects. Led by Wadsworth – the butler, Miss Scarlett, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock, and Colonel Mustard race to find the killer as the body count stacks up. Clue is the comedy whodunit that will leave both cult fans and newcomers in stitches as they try to figure out…WHO did it, WHERE, and with WHAT! RATED PG

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