Daddy Long Legs

Jean Webster’s 1912 novel set in turn-of-the-century New England has been musicalised before. Hugh Martin wrote a hit West End adaptation of it called Love From Judy in 1952 and three years later Fred Astaire and Leslie Caron turned the story into a very successful Hollywood musical, Daddy Long Legs. But there’s no splashy song-and-dance numbers in this version, which is written for a cast of two.

The story of an orphanage waif who benefits from a mysterious benefactor’s largesse in the form of college tuition bears similarities to Jo Marsh’s story strand in Little Women. The fact it’s set in the same period, locale, and that she also becomes a writer only underlines the likeness.

Two character musicals are rare and successful ones even rarer. I can only cite Schmidt and Jones’ I Do, I Do and Jason Robert Brown’s The Last Five Years as examples.

This new adaptation and Australian premiere of Webster’s story has charm, and an emotional finale when the two characters finally declare their love for each other, but too often, because of John Caird’s epistolary treatment of the book, it treads water. Paul Gordon’s music and lyrics are workmanlike without being outstanding, although I did like “The Secret of Happiness” which keeps recurring throughout the piece.

As the protagonist Jerusha Abott, 18-year-old Ella Macrokanis was feisty, with a youthful adolescence that appealed. Her vocals had a purity of tone that delineated the character, especially in “I Couldn’t Know Someone Less” and “I Have Torn You From My Heart”.

As the benefactor, Jervis Pendleton lll, Shaun Kohlman’s light tenor was perfect for the role, whether singing solo on “My Manhattan” and “Humble Pie”, or dueting with Macrikanis on “The Colour of Your Eyes”, it had warmth.

Sean Fagan’s three-piece orchestra of piano, guitar and cello added a tenderness to the soundscape, while Maddi Goodridge’s costumes nicely mirrored the period. Scott Lymbery’s bookish set and its attention to detail elevated the level of production, as did Connor Clarke’s sensitive direction.

The oft-told story still pleases in this new adaptation. Well worth a look.

Peter Pinne