Daddy Long Legs

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Daddy Long Legs: A Tender Tale on the West End

"Daddy Long Legs" brought its intimate, epistolary charm to London’s West End, opening at the St. James Theatre on October 31, 2012, and running until December 8, 2012, for a limited 42-performance engagement. With music and lyrics by Paul Gordon and a book by Tony-winning director John Caird, the musical adapts Jean Webster’s 1912 novel, telling the story of Jerusha Abbott, an orphan sent to college by a mysterious benefactor she nicknames "Daddy Long Legs." This two-hander production, starring Megan McGinnis and Robert Adelman Hancock, offered a fresh take on a classic, blending poignant melodies with a narrative of growth, love, and discovery, captivating audiences in its brief but impactful run.

Origins and Path to London

The musical’s journey began at California’s Rubicon Theatre in 2007 as part of a developmental series, with its world premiere co-produced by Rubicon, TheatreWorks Silicon Valley, and Cincinnati Playhouse in 2009-2010. Caird, known for "Les Misérables," crafted the book and directed, preserving Webster’s letter-based structure, while Gordon, a Tony nominee for "Jane Eyre," composed a score that echoed the story’s emotional arc. After acclaimed US runs, including an Off-Broadway stint at the Davenport Theatre in 2015, "Daddy Long Legs" crossed the Atlantic for its West End debut, produced by Michael Jackowitz and Ken Davenport. Its arrival at the St. James Theatre marked its first full London staging, a milestone for this chamber musical.

The West End Production

At the St. James Theatre, Megan McGinnis reprised her role as Jerusha, a part she originated in 2009, alongside Robert Adelman Hancock as Jervis Pendleton, the benefactor who becomes her unseen correspondent and eventual love interest. Directed by Caird, the production used minimal staging packing cases rearranged to shift scenes focusing attention on the performers and Gordon’s lush score. Opening amid buzz from its American success, it ran for just over a month, closing before the holiday season. Critics like Michael Billington of The Guardian praised its "captivating" simplicity and McGinnis’ standout performance, though its short run reflected the challenges of marketing a quiet, two-character show in the bustling West End.

Musical and Theatrical Essence

Gordon’s score weaves a tapestry of introspective ballads and sprightly tunes, including "The Secret of Happiness," where Jerusha finds joy in the present, and "My Manhattan," Jervis’ ode to city life. "Things I Didn’t Know" and "I’m a Beast" highlight Jerusha’s evolution from orphan to writer, her letters voiced with wit and warmth by McGinnis. Hancock’s Jervis balances reserve with longing, culminating in the tender "The Color of Your Eyes." David Farley’s scenic and costume design evoked early 20th-century New England, while Caird’s nimble direction honed from his RSC days kept the focus on the duo’s chemistry, making the intimate St. James space a perfect fit.

Global Reach and Later Stagings

Before and after its West End moment, "Daddy Long Legs" thrived elsewhere. Its Off-Broadway run from 2015 to 2016 earned Drama Desk nods, and a 2015 cast recording with McGinnis and Adam Halpin preserved its sound. The UK saw further life with a 2019 production at The Barn Theatre in Cirencester, directed by Kirstie Davis, starring Rebecca Jayne-Davies and Ryan Bennett. Australia’s premiere followed that year in Brisbane, with Japan and Canada hosting earlier stagings. While it never hit Broadway, its adaptability streamed online in 2015 via BroadwayHD broadened its reach, though the West End remains its sole major London chapter to date.

Legacy and Cultural Footprint

"Daddy Long Legs" left a gentle mark on the West End, its 2012 run a testament to the power of small-scale storytelling amid flashier spectacles. Critics lauded its charm Billington called it “more fun than many a big, blowsy” show yet its brevity underscored the challenge of sustaining a chamber piece commercially. Rooted in Webster’s novel, a hit adapted into films like the 1955 Fred Astaire version, the musical’s focus on independence and love resonates with Austen-esque romance fans. As of March 2025, its legacy endures through regional productions and its recorded legacy, a quiet triumph of heart over scale in London’s theatrical tapestry.