Dave Kearns

Saw the premiere of the musical version of “Daddy Long Legs” from Theaterworks last night. The book (by John Caird) and the music (by Paul Gordon) were delightful. This is a two character play, told mostly (except for the opening few minutes and the final five or so) through letters. While that sounds like it could be a real snorer, having both characters on stage at all times, yet having each set in their own setting (mostly) allows for a lovey give-and-take between them of which neither is aware.

Megan McGinnis steals the show, and our hearts, from the opening minutes when she  (as Jerusha Abbott) sings “The Oldest Orphan in the John Grier Home.”

Robert Adleman Hancock, as JervisPendleton, does a very good job with a somewhat trying role as the nameless benefactor (whom Jerusha calls “Daddy Long Legs”) as well as the ardent suitor (well, “ardent” by 1910 standards!) of Ms. Abbott.

The pace is quite good, the conflicts are very believable and the ending is satisfactory. What more can you ask? Plus, the music, while nothing memorable, is done in the style of light operetta which, of course, was the precursor to musical comedy and was having it’s heyday at the turn of the 20th century.

All in all this was a highly entertaining evening reflecting well on all involved. See it if you can.

There’s hope for the American musical theater after all. For those of us who feel that Andrew Lloyd Weber was, perhaps, the greatest disaster to strike musical theater, the recent premiere of Emma by the bay area’s venerable TheaterWorks organization, brings hope of good things to come. The style, tone and – most importantly – the writing falls somewhere at the intersection of Cole Porter, the Gershwins and Noel Coward, which is a very heady neighborhood to be in.

But don’t just take my word for it. This delightful loose adaptation from Jane Austen was uniformly praised by the Bay Area drama critics (something that rarely happens, in my experience):

“You may not be swept away or entirely convinced, but even the most skeptical audience member would have to work hard not to be gratified, impressed and entertained.” – Steve Winn, San Francisco Chronicle

“Paul Gordon’s music, lyrics and books are all perfect enhancements of Austen’s 2-century-old romantic comedy novel, and Robert Kelley should be anyone’s director of choice for staging a small-scale musical. But as cute little musicals come and go, the title song is Gordon’s most likely guarantee of staying power, and it’s difficult to sell a good song these days.“ -Colin Seymour, San Jose Mercury News [watch a short video of this song]

“As far as world premieres go, ‘Emma’ is in remarkably good shape. Gordon’s score — an easy-on-the-ears kind of chamber pop orchestrated for violin, cello, oboe/English horn and piano — hits all the right notes and captures both the silliness and earnest romance in Austen’s 1815 novel.” – Chad Jones, the Oakland Tribune

We went to see “Emma” last night, and were thoroughly entertained as was the entire audience. The music, the lyrics, the book, the direction and the performances were all spot-on. Each of the actors created characters that were both believable and enjoyable. Timothy Gulan (Mr. Knightly) gave the performance (a cross between Rex Harrison and Robert Goulet, in my mind) one would expect of so experienced an actor. But Lianne Marie Dobbs, in the title role, was a wonderful surprise. This actress is on stage for, easily, 99% of the show but she was always sparkling, engaging and entertaining with no sign of fatigue or “going through the paces.” I do hope to see more of her at TheaterWorks but fear this success will be just what she needs to send her east to the Great White Way.

Get tickets now, if you can. And, for the rest of the world outside the Bay area, watch for this gem to show up in your regional theater.

We went to see Avenue Q this weekend, which one publication billed as “Sesame Street meets South Park.” This clip (of the song “Everyone is a little bit racist”) will give you some hint of why. (Other tunes include “IF YOU WERE GAY” and “THE INTERNET IS FOR PORN”)

I prefer, though, to think of it as a remake of “the Muppets Take Manhattan,” updated and re-set in Bed-Sty. The irreverent book, the catchy tunes and the wonderful cast make this a delight – the funniest musical we’ve seen in years.