Carmiña Monserrat* as Jerusha and Liam Boyd* as Jervis. Photo by Brennen Russell.

Daddy Long Legs

Hormel Theatre

April 1, 2026

—

May 3, 2026

2 hours and 15 minutes, including one 15 minute intermission

Sometimes, the greatest love stories begin before we even know they’ve started. 

Ticket Prices: Start at $60

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About the Show

If you love slow-burn love stories and heartfelt connections, Daddy Long Legs is the perfect romantic escape. When a mysterious benefactor sends the intelligent and witty Jerusha Abbott to college, she begins writing him letters filled with curiosity, humor, and dreams for the future. As years pass, an unexpected bond begins to form. With a gorgeous score and timeless storytelling, this musical is a beautiful reminder that love can grow in the most unexpected places. 

 

All shows may contain adult themes or mature content. Patron discretion is recommended.
Audio Description and American Sign Language Interpretation are available for each production. ASL/Audio Describe Night is:
Friday, April 24, 2026 at 7:30PM
Our Box Office is here to help!
Just call 602–254–2151 and we’d be happy to assist you.


Box Office Hours:
Monday – Friday: 10am to 5:30pm
Will Call: Two hours before show time

Looking to bring a group of 10 or more? Theatre is always better with friends and we have great group rates for you! Click here for details.

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Daddy Long Legs Digital Playbill

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Text reads “Daddy Long Legs” in red flowing script. Below, a man and woman in Parisian style 1920s clothing dance together.
Text reads “Daddy Long Legs” in red flowing script. Below, a man and woman in Parisian style 1920s clothing dance together.

Reviews

TPTC presents the perfect production. [...] It is a lovely show with thoughtful and touching excursions into two handsomely developed characters.
Chris Curcio, Curtain Up Phoenix
There’s a quiet kind of pleasure in watching two people fall in love through letters, especially when the letters are being sung, and even more so when the singing is this good. [...] But for two hours with The Phoenix Theatre Company, it offers the rare pleasure of a story told with care, a romance that unfolds in slow, deliberate strokes, and performances that make you sit up rather than sit back.
David Appleford, Broadway World
Carmiña Monserrat is, simply put, luminous. She’s aglow with an earnest sparkle. As Jerusha, she comfortably inhabits her role, bringing warmth, mischief, and a sly intelligence to every line, and delivers the musical’s procession of songs with clarity and ease that seem to rise organically from thought into melody.
David Appleford, Broadway World
Liam Boyd as Jervis has the trickier job. He’s not supposed to let Jerusha know he exists, and yet we need to sense him falling for her in silence. He does it with restraint and subtlety, but the chemistry is there, simmering beneath the formality.
David Appleford, Broadway World
Director Chelsea Anderson’s staging is modest, almost minimal, but that seems part of the point. The letters, the books, the gentle shifts in Nathaniel White’s lighting, they’re all tools of a production that trusts its performers and its material.
David Appleford, Broadway World
Superbly staged by Chelsea Anderson [...] Carmiña Monserrat is a bouncy, life-loving Jerusha with Liam Boyd the initially stately Jervis who evolves into a rumbustious guy as Jerusha opens him up to a more diverse world. The pair sing exquisitely in many solos and blend beautifully in several romantic duets.
Chris Curcio, Curtain Up Phoenix
Julian Lamarti’s musical direction is tasteful, as it should be, using only keyboards, a cello, and an acoustic guitar. It’s as if the whole production is wrapped in a kind of musical-theatre cashmere: soft, warm, and exceedingly polite.
David Appleford, Broadway World
A three-person orchestra led by Julian Lamarti plays the score winningly and thoughtful projections provide further insights as the pair’s correspondence is artfully displayed.
Chris Curcio, Curtain Up Phoenix
A handful of Jerusha’s rearranged packing cases suggest shifting locations on Aaron Jackson’s unfussy, simple, yet efficient set design, but also a reminder that the real scenery here is interior. It’s the imagination that does the work. Particularly effective are Connie Furr’s costumes and Avant Johnson’s hair and makeup, which chart Jerusha’s transformation across her college years, from the “world’s oldest orphan” to a poised, educated young woman.
David Appleford, Broadway World
Boyd, who graduated from ASU’s Music Theatre program two years ago, was the perfect choice for Pendleton. [...] He captured the nuances of the character and held his own in every scene with Monseratt.
Lynn Timmons Edwards, Cabaret Scenes
Monseratt was marvelous, and she carried the show.
Lynn Timmons Edwards, Cabaret Scenes
Monseratt was able to glide through the score, using her head voice and, when needed, a mid-voice mix that was focused. She used it to express her inner thoughts in her correspondence with Daddy Long Legs. Boyd and Monseratt were physically and vocally confident, and every lyric was crisp and clean.
Lynn Timmons Edwards, Cabaret Scenes
The orchestration for piano, guitar, and cello was brilliant. It was especially perfect for “Like Other Girls,” but it was a delight throughout. Bravo to music director Lamarti and his two orchestral companions ( Andy Gonzalez on guitar, and Karen Kroger on cello,)
Lynn Timmons Edwards, Cabaret Scenes
We must also give kudos to scenic designer Aaron Jackson, whose single set, with Jerusha’s bedroom stage right and Jervis’s study stage left, was connected by a tree with leaf-like letters and a screen that projected everything from snippets of correspondence to a beautiful full moon under which the characters reflect on “The Secret of Happiness.”
Lynn Timmons Edwards, Cabaret Scenes
TPTC presents the perfect production. [...] It is a lovely show with thoughtful and touching excursions into two handsomely developed characters.
Chris Curcio, Curtain Up Phoenix
There’s a quiet kind of pleasure in watching two people fall in love through letters, especially when the letters are being sung, and even more so when the singing is this good. [...] But for two hours with The Phoenix Theatre Company, it offers the rare pleasure of a story told with care, a romance that unfolds in slow, deliberate strokes, and performances that make you sit up rather than sit back.
David Appleford, Broadway World
Carmiña Monserrat is, simply put, luminous. She’s aglow with an earnest sparkle. As Jerusha, she comfortably inhabits her role, bringing warmth, mischief, and a sly intelligence to every line, and delivers the musical’s procession of songs with clarity and ease that seem to rise organically from thought into melody.
David Appleford, Broadway World
Liam Boyd as Jervis has the trickier job. He’s not supposed to let Jerusha know he exists, and yet we need to sense him falling for her in silence. He does it with restraint and subtlety, but the chemistry is there, simmering beneath the formality.
David Appleford, Broadway World
Director Chelsea Anderson’s staging is modest, almost minimal, but that seems part of the point. The letters, the books, the gentle shifts in Nathaniel White’s lighting, they’re all tools of a production that trusts its performers and its material.
David Appleford, Broadway World
Superbly staged by Chelsea Anderson [...] Carmiña Monserrat is a bouncy, life-loving Jerusha with Liam Boyd the initially stately Jervis who evolves into a rumbustious guy as Jerusha opens him up to a more diverse world. The pair sing exquisitely in many solos and blend beautifully in several romantic duets.
Chris Curcio, Curtain Up Phoenix
Julian Lamarti’s musical direction is tasteful, as it should be, using only keyboards, a cello, and an acoustic guitar. It’s as if the whole production is wrapped in a kind of musical-theatre cashmere: soft, warm, and exceedingly polite.
David Appleford, Broadway World
A three-person orchestra led by Julian Lamarti plays the score winningly and thoughtful projections provide further insights as the pair’s correspondence is artfully displayed.
Chris Curcio, Curtain Up Phoenix
A handful of Jerusha’s rearranged packing cases suggest shifting locations on Aaron Jackson’s unfussy, simple, yet efficient set design, but also a reminder that the real scenery here is interior. It’s the imagination that does the work. Particularly effective are Connie Furr’s costumes and Avant Johnson’s hair and makeup, which chart Jerusha’s transformation across her college years, from the “world’s oldest orphan” to a poised, educated young woman.
David Appleford, Broadway World
Boyd, who graduated from ASU’s Music Theatre program two years ago, was the perfect choice for Pendleton. [...] He captured the nuances of the character and held his own in every scene with Monseratt.
Lynn Timmons Edwards, Cabaret Scenes
Monseratt was marvelous, and she carried the show.
Lynn Timmons Edwards, Cabaret Scenes
Monseratt was able to glide through the score, using her head voice and, when needed, a mid-voice mix that was focused. She used it to express her inner thoughts in her correspondence with Daddy Long Legs. Boyd and Monseratt were physically and vocally confident, and every lyric was crisp and clean.
Lynn Timmons Edwards, Cabaret Scenes
The orchestration for piano, guitar, and cello was brilliant. It was especially perfect for “Like Other Girls,” but it was a delight throughout. Bravo to music director Lamarti and his two orchestral companions ( Andy Gonzalez on guitar, and Karen Kroger on cello,)
Lynn Timmons Edwards, Cabaret Scenes
We must also give kudos to scenic designer Aaron Jackson, whose single set, with Jerusha’s bedroom stage right and Jervis’s study stage left, was connected by a tree with leaf-like letters and a screen that projected everything from snippets of correspondence to a beautiful full moon under which the characters reflect on “The Secret of Happiness.”
Lynn Timmons Edwards, Cabaret Scenes

Cast

Boyd,Liam
Liam Boyd*
Jervis
Monserrat,Carmina_Square
Carmiña Monserrat*
Jerusha
Adair, Atticus_Headshot
Atticus Adair
Jervis understudy
Gade,Jasmyn
Jasmyn Gade
Jerusha understudy
Boyd,Liam
Liam Boyd*
Jervis
Monserrat,Carmina_Square
Carmiña Monserrat*
Jerusha
Adair, Atticus_Headshot
Atticus Adair
Jervis understudy
Gade,Jasmyn
Jasmyn Gade
Jerusha understudy

* Denotes a member of Actors’ Equity Association

*Denotes a Member of Actors’ Equity Association

Creative Team

Chelsea Anderson
Director
Kevin White
Music Director
Emma Emde*
Stage Manager
Maylea Bauers*
Assistant Stage Manager
Matt Drui
Sound Designer
Aaron Jackson
Scenic Designer
Alanna Maniscalco
Properties Manager
Connie Furr ◊
Costume Designer
Avant Johnston
Hair & Makeup Designer
Nathaniel White
Lighting Designer
Emilio Torres
Supplemental Video Designer/Programmer
Karla Frederick
Director of Production
Julian Lamarti
Conductor
Chelsea Anderson
Director
Kevin White
Music Director
Emma Emde*
Stage Manager
Maylea Bauers*
Assistant Stage Manager
Matt Drui
Sound Designer
Aaron Jackson
Scenic Designer
Alanna Maniscalco
Properties Manager
Connie Furr ◊
Costume Designer
Avant Johnston
Hair & Makeup Designer
Nathaniel White
Lighting Designer
Emilio Torres
Supplemental Video Designer/Programmer
Karla Frederick
Director of Production
Julian Lamarti
Conductor

* Denotes a Member of Actors’ Equity Association

+ Denotes a Member of Stage Directors and Choreographers Society

♢ Denotes a Member of United Scenic Artists (IATSE)

* Denotes a Member of Actors’ Equity Association | + Denotes a Member of Stage Directors and Choreographers Society | ♢ Denotes a Member of United Scenic Artists (IATSE)

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