Tag: Paul Toben

Review: The Mystery of Love and Sex (Writers Theatre)

Travis Turner and Hayley Burgess star as Jonny and Charlotte in The Mystery of Love and Sex           
      
  

The Mystery
  of Love and Sex

Written by Bathsheba Doran
Writers Theatre, Glencoe (map)
thru July 2  |  tix: $35-$80  |  more info
       
Check for half-price tickets   
     

April 18, 2017 | 0 Comments More

Review: Electra (Court Theatre)

Emjoy Gavino and Kate Fry in Electra, Court Theatre           
      
  

Electra

Written by Sophocles
Translated by Nicholas Rudall 
Court Theatre, 5535 S. Ellis (map)
thru Dec 11  |  tix: $46-$68  |  more info
       
Check for half-price tickets   
     

December 2, 2016 | 0 Comments More

Review: War Paint (Goodman Theatre)

Patti LuPone sings Forever Beautiful in War Paint, Goodman Theatre          
 
       
War Paint       

Doug Wright (book) Scott Frankel (music)
   and Michael Korie (lyrics)
Goodman Theatre, 170 N. Dearborn (map)
thru Aug 21  |  tix: $44-$182  | more info
       
Check for half-price tickets   
     

August 2, 2016 | 0 Comments More

REVIEW: Daddy Long Legs (Northlight Theatre)

 

Tuneless letter reading makes a dull ‘Daddy’

 

Robert Adelman Hancock and Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner.

   
Northlight Theatre presents
   
Daddy Long Legs
    
Music/Lyrics by Paul Gordon,
Book by
John Caird
Directed by John Caird
North Shore Center for Performing Arts, Skokie (map)
Through October 24  |  
Tickets: $45–55  |   more info 

Reviewed by Leah A. Zeldes

Based on a lively, epistolary, young-adult novel written in 1912 by Jean Webster, Northlight Theatre’s regional premiere Daddy Long Legs centers on Jerusha Abbott, "The Oldest Orphan in the John Grier Home," who unexpectedly earns the offer to attend college sponsored by one of the orphanage trustees. That thrusts her into a world she’s never before known.

Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner. Webster’s story indeed has long legs — the author turned it into a stage play that ran on Broadway in 1914. Mary Pickford starred in a silent movie version in 1919, and the 1935 Shirley Temple film “Curly Top” was rooted in that film. A British stage musical called Love from Judy opened in 1952 and ran for two years, and Fred Astaire starred in a 1955 Hollywood musical version. It’s since become a Japanese animation and a Korean film. 

In Webster’s version of the tale, Jerusha details her collegiate adventures in a series of charming and unaffected letters to her carefully anonymous and unresponsive benefactor, "Mr. Smith," whom she nicknames "Daddy-Long-Legs." Although we may have our suspicions, readers don’t find out who Smith really is until Jerusha does — nearly at the end of the novel. Webster’s novel evolves into a romance, but lots of its charm comes from Jerusha’s descriptions of her hijinks at school. The dissatisfying new chamber musical by Paul Gordon and John Caird gives us little of that, concentrating on the incipient love affair.

We learn from the outset that Smith is really one Jervis Pendleton, a much younger man than Jerusha believes, and we watch as he falls in love through the mails and plots to meet his plucky protege. That removes most of the mystery and suspense.

For example, in the novel, we are as mystified as Jerusha when her sponsor won’t permit her to spend the summer in the Adirondacks with her college roommate, while the musical makes it clear his objection is to the roomie’s handsome brother.

Played by Megan McGinnis and Robert Adelman Hancock, Jerusha and Jervis are the only characters. The focus remains on Jerusha and her letters, which she sings. While Daddy Long Legs isn’t quite a sung-through musical, these recitatives make up much of the play. McGinnis has a sweet voice and Hancock, who mainly sings backup, does fine, but the songs are undistinguished and Gordon’s score largely tuneless.

David Farley’s set is, for unknown reasons, littered with luggage, with a central moat full of suitcases and trunks that the actors keep circling, somewhat dizzily, though Jervis spends most of his time stuck rear stage in a book-lined office.

Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner. Robert Adelman Hancock in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner. Megan McGinnis and Robert Adelman Hancock in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner.
Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner. Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner.

Since the one-way nature of the correspondence prevents much back and forth between the two characters, the play becomes largely action-free. No matter how endearing, what makes for good narrative in a book becomes rather dull on stage. That might not matter so much if the music were more interesting, but as it is, the play needs more life and more people in it. In the novel, we get this though Jerusha’s rich descriptions of her friends and others she interacts with.

In the first song, "The Oldest Orphan in the John Grier Home," we get a little of this, as Jerusha mimics people at the orphanage. Had this kind of characterization continued through the musical, it might have worked. But from then on, the singing letters do more telling than showing. McGinnis’s charming and animated performance goes far to make up for this, but not far enough.

Moreover, for all its modernisms in terms of cast and staging, Daddy Long Legs seems overly old-fashioned and simple. A story aimed at young girls in 1912 rather lacks spice for adult audiences a century later.

   
   
Rating: ★★
   
   

Megan McGinnis in Northlight Theatre's "Daddy Long Legs". Photo by Jeanne Tanner.

 

 

October 4, 2010 | 0 Comments More