A shadow resembling a daddy long-legs makes Jerusha Abbott, played by College fourth-year Chloe Sinder, laugh on an awful day and changes the trajectory of her future. The shadow belongs to Jervis Pendleton, played by College fourth-year Ansel Mills, who unexpectedly pays for Jerusha’s college education.
Based on Jean Webster’s 1912 novel, Daddy Long Legs was brought to life this past weekend in the Kander Theater under the direction of College third-year Kate Heffernan. The story follows an orphan from the John Grier Home named Jerusha Abbott as she is sent to college by a mysterious benefactor. At first, she only knows three things about this man: he’s tall, he’s rich, and he hates girls. Jerusha brims with curiosity about him, questioning everything from his age to his hair (or lack thereof). At one point she even writes on a blackboard: “Are you bald?” She envisions her benefactor as a spidery old man and addresses him as “Daddy Long Legs” in her letters.
Jervis Pendleton is a man happy to read about Jerusha’s journey through college but unwilling to reveal his true identity. Charmed by Jerusha’s engaging, humorous letters, he eventually decides to meet her in person. Not wanting to reveal himself as her sponsor, though, he decides to live a double life — that of the “Daddy Long Legs” who pens letters anonymously, and that of Pendleton. When Jerusha and Jervis begin to fall in love, there’s a serious predicament. If he were to reveal that he is also “Daddy Long Legs,” Jervis fears Jerusha would spurn him. The web of deceit tangles until it is finally broken and the truth is revealed: “Daddy Long Legs” is not old or gray or bald. He is simply the handsome Pendleton who hid behind the mask of Daddy Long Legs because it was safer than revealing his true self. In one song, Jerusha navigates betrayal, wonderment, and forgiveness. Ultimately, the lyrics make up her first love letter to “Daddy Long Legs.”
Although there were only two characters on stage, the space always felt full. The set grounded the actors by providing a variety of elements to interact with. There was a ladder that doubled as a bookshelf, a bed, a cluttered desk, and old-fashioned trunks that formed a staircase, podium, and tea table. At one point, a cutout of “Daddy Long Legs” perched atop the ladder was projected onto the back wall. These creative ways of using the stage were visually engaging.
Arguably, the most challenging part of Daddy Long Legs is its vast musical score. Spectacular live accompaniment was provided by a cello and piano. Sinder was tasked with performing nine solos and eleven duets. Since most of the story is told through song, diction is especially important. Sinder’s forward vocal placement gave the music a conversational tone that made it easy for the audience to follow. While the challenging musical score made it hard to achieve perfect pitch, Sinder proved her competency as an actor. Dressed in a long skirt and white blouse reminiscent of the early 1900s, Sinder artfully navigated both the humorous and tender moments of the musical. She dramatically flopped onto her bed after a rough day, routinely poked fun at “Daddy Long Legs” in her letters, and showed true vulnerability when her benefactor didn’t respond to her graduation ceremony invite. The lighting cues enhanced the humor of the show. During a letter about her freshman year studies, Jerusha comedically renounced her orphanage by signing her letter, “Yours, Jerusha Abbott, not affiliated with the John Grier Home.” On this lyric, the lights went dark, illuminating only Jerusha’s sardonic face.
Mills’ interpretation of Pendleton was surprisingly comedic as well. There was a silly, casual arrogance about him that was reminiscent of Bridgerton’s Anthony Bridgerton. His physicality contradicted Jerusha’s image of him as an octogenarian. He squatted on his desk, stroking a statue of a dog, and then paced the stage in the throes of a youthful crush. Mills tackled ten solos and eleven duets with impressive technique. His vocal dynamics revealed emotional depth, and his diction was crisp even on soft, floaty notes. If Sinder and Mills had matched vocal placement during duets, the singing would have been brought to the next level. Throughout, Mills seemed to be thoroughly enjoying himself. There were times when he seemed so amused by the script that he was slightly pulled out of the show. At one point, Pendleton created the illusion that he was traveling to Jerusha’s college by shuffling into the audience and climbing over railings. There was such an uproar from the audience that Mills couldn’t help but laugh when he returned to the stage. The reality of the scene was tarnished and Sinder’s monologue was drowned out. This directorial choice pushed so far into physical comedy that it risked being distracting.
Following the show, Sinder addressed the audience and brought the musical into a broader social context. She celebrated the fact that Oberlin College was the first in the nation to grant bachelor’s degrees to women in 1837 and acknowledged that there are still women in the world who don’t have access to higher education. Sinder explained that a percentage of ticket sales were going to the Malala Fund and encouraged the audience to make an additional donation. Even many years later, the musical’s feminist message is still highly relevant. Throughout, Jerusha challenges the traditional gender roles of the early 1900s by excelling in college and pursuing a career as a writer. Jerusha proves that women can not only fall in love, but also gain intellectual and financial independence.
