By Alayna, Eliza, and Melissa Een
The musical Daddy Long Legs is an adaptation of the Jean Webster 1912 novella of the same name, with music and lyrics by Paul Gordon and book written by John Caird. This intimate, two-person show introduces Jerusha Abbot, the oldest orphan in the John Greer home. Her life of mundanity is lightened only by her insatiable imagination, until one day when a rich stranger, inspired by her creative essays and budding writing talent, decides to sponsor her education and send her to college. However, his generosity comes with certain stipulations: his identity must remain a secret (even from her), and Jerusha must write him a letter monthly (with the understanding that he will never respond). Undeterred, Jerusha christens him “Daddy Long Legs” and enthusiastically begins the correspondence. Her initial assumptions that “Daddy Long Legs” is an affluent octogenarian couldn’t be further from the truth, and the youngish benefactor, Jervis Pendleton, finds himself instantly charmed. Jervis decides to introduce himself to her discreetly as the relative of a friend and soon finds himself caught in a web of mixed identities and emotions.
From her first moment onstage—in which she flopped onto a wooden trunk for the beginning of “Oldest Orphan”—I knew that I would adore Dylann Riggs and her spunky, genuine portrayal of Jerusha Abbot. As the lead in a two-person epistolary musical, Riggs has a huge responsibility to keep the audience engaged and the plot moving, and she does it all effortlessly. Her energy and personality in both her dialogue and songs are endearing and captivating, and it was easy to feel the deep and varied emotions of the show along with her. I’m very familiar with this musical, and Riggs’s performance brought out new and delightful layers for me. The anguish she showed while singing “Graduation Day” was especially poignant.
Scott Hendrickson is one of my favorite local performers, and he is charming in the role of Jervis Pendleton. As he continues to act in the background of Riggs’s monologues and solos, his idiosyncrasies round out elements of his character, and his tender but conflicted emotions shine through even when the story he’s telling is not his own. All of these combine to give the audience more opportunities to laugh and learn to like him. Hendrickson’s little habits, wiping his feet on the rug outside his office and taking on and off his coat and hats, build a clear picture of his character and help establish the moods setting in each scene. His powerful and emotional performance of the solo “Charity” is a strong point.
The high point of the show—both emotionally as the characters fall in love and physically because it happens on the top of a hill—comes early in act II as the pair sings “The Secret of Happiness.” The sincere and simple physical interactions between the characters onstage match the tenderness of their duet, and when the lights dim and the ceiling comes to life with “stars,” it feels truly magical.
Riggs’s costume changes (Elizabeth Crandall, costume design) throughout the show help illustrate her transition from an inexperienced girl to a mature and independent woman and author. The small-scale but intimate nature of this play is heightened by a keen attention to detail from director Kris W. Peterson. Every movement the actors make on set is purposeful and develops both their characters and the world they live in. At the beginning of the show, the two leads remain on their own sides of the stage, but as the lines between their lives blur, so too do the distinctions between Jervis’s office and Jerusha’s room. Small tokens of their time together—a blue hair ribbon, a newspaper, a rose—begin to join the books in the shelves and desks on set. In some cases, the books themselves hold meaning to the observant eye. In one specific example, Jervis holds Jane Eyre in his hands after Jerusha mentions it in the previous scene. Even the scene changes—which happen in full view of the audience through movement of the desks and trunks on set—are filled with color and emotion that help bring the audience further into the story. The set, lighting, and staging are a credit to Robert Seely (set design), Spencer Powell (lighting), and the whole crew.
There is no one I wouldn’t recommend this musical to. It is everything I want to see in a play: beautifully written script and music performed wholeheartedly by talented and well-matched actors. Two-person shows such as this require strong performances and careful organization from beginning to end, and this cast and crew put together a delightful performance that will enchant all audiences.
The performance of Daddy Long Legs on Thursday, April 18th has been designated for the hearing impaired. Interested persons are encouraged to contact the box office at (801) 852-7007 prior to the show to ensure availability of interpreters.
A review by Front Row Reviewers
Covey Center for the Arts presents: Daddy Long Legs by Paul Gordon and John Caird
425 W Center St Provo, UT 84601
April 11, 2024 to May 6, 2024, 7:30 PM (Monday, Thursday–Saturday)
Tickets: $18 for students, seniors, and military; $20 general admission Covey Center Tickets
Contact: (801) 852-7007
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