After 20 years, a theater company develops a reputation for certain specifics, things the audience comes to expect. Since 2002, all for One has been producing published works for the Fort Wayne community. (For 10 years before that we were a touring rep company performing original material.) We are well-known for doing adaptations of well-loved literary works, working in intimate spaces with smaller casts, and doing plays which are generally appropriate for all ages. Our production of Daddy Long Legs, based on a 1912 novel by Jean Webster, is no exception … or is it?
Yes, it’s a faithful adaptation of a minor classic, and it is rated G. Yes, we perform in Auer Center’s PPG ArtsLab, a lovely, intimate black box theater which seats 150 or so. And yes, the cast is small … two, in fact.
There, however, is the end of the normal and expected.
This production is notable for a surprising number of unusual elements for us. First of all, it is a musical, which we are known for avoiding! Secondly, it is a published musical, with a fine book by John Caird and music by Paul Gordon (who also wrote the musical Jane Eyre). Thirdly, the singers will be accompanied by a small ensemble of keyboard, cello, guitar, and percussion. Live musicians in a small venue can be a challenge, but their placement behind the set coupled with the actors’ body mics should take care of that challenge. (To be clear, we have produced two world-premiere musicals with sacred themes, composed by two local pastors who are also fine composers and writers. Bend Us in 2015 used recorded accompaniment, and David in 2018 was a one-man show backed by a band.)
Another first for us is employing two casts. Our guest director, Mary Beth Frank, was concerned about the strenuous requirements of a musical which has the two characters singing for the best part of two hours in February, during the height of cold season. We are so thankful that she was able to cast two equally strong sets of actors, and our understudies have been a consistent part of the entire rehearsal process.
Barring illnesses, they will perform at least once, for the first Sunday matinee. But they will be completely ready to go on at a moment’s notice in any of our other five performances. What a lovely and reassuring luxury this is, to be sure!
What else is new? Three of our four actors are newcomers to all for One: Sierra Harber and Bekah Guntle, playing Jerusha Abbott, “the oldest orphan in the John Greer Home,” are making their afO debuts. Scotty Frank, playing the title role, is making his debut as well. Andrew Bower, his understudy, made his first appearance with afO in Bend Us.
Even the way this story is told is unusual. The 1912 novel was written in what is called epistolary form, comprised entirely of letters from Jerusha to the trustee who has offered to pay her way through college. “Daddy-Long-Legs,” the nickname she gives him based on a fleeting glimpse of his shadow, doesn’t get to say much in the original.
The musical has him share the reading and singing of Jerusha’s letters, creating a fresh dynamic that moves the story along well. We also get to hear some of his side of the story, which is missing in the book.
As someone very familiar with the novel, this is definitely an improvement and makes the unfolding relationship much more realistic and satisfying.
For a delightful couple of hours of lovely music, gentle humor, and a charming love story, I hope you will take advantage of this opportunity to see the Daddy Long Legs.
