PERFECT WORLD

Just about a month or two ago, I became fascinated with the real-life tale of Barbara Newhall Follett, who had become a published novelist in the 1920s, at the age of fourteen. That part of her life was intriguing enough, but the kicker is that she disappeared in 1939 at just twenty-five-years-old!

And then, just a few weeks after I discovered this story, I received an invitation to the opening of this new musical, Perfect World, which is based on Follett’s life! What a fortuitous turn of events!

I could not imagine how the writers were going to tell this true bit of history in a play, let alone a musical. But the way it’s done—by alternating between young Barb, grown-up Barbara, and the aftermath of her disappearance—seems to work. I think that audiences just have to be aware of the order of events going in or they could possibly be a tad lost during this presentation. (It will also help to know that when Barb and her pal are repeatedly using words we don’t know, they’re all about the adventure book she’s writing.)

By the way, I’ve done only a scintilla of the research that librettist Alan Edmunds has done on Barbara Follett—he researched her for a decade and a half! So this show filled in many blanks for me. (But I still can’t stop reading up on her! Like I said, I’m fascinated.)

Perfect World begins with Follett’s disappearance. The scenes then go back and forth through the years from there. Because of those time jumps, I feel that they really need to age the appearance of the mother and father a bit when they’re in scenes as the parents of a twenty-five-year-old as opposed to of an eight-year-old, to make the action easier to follow. But I don’t have any suggestions of how to do that because there’s not enough time between scenes to apply, dissolve, and reapply older or younger make-up, (except to maybe wear those toy glasses with fake moustaches attached! Even for the mom.) The way it is now, the ’rents look the same age from the time the girl is a second-grader to being a young woman in her twenties. (Who do they think they are—me?!)

I have a feeling that the creative powers took a bit of poetic license with the script, (doesn’t every entertainment?,) but they perhaps had to because not enough biographical material may exist, (although Follett’s second book was an account of a 1927 ship journey she took.) For example, this musical shows Barbara and her husband living in Manhattan even though recorded accounts of her life say that they had settled in Brookline, Massachusetts. But that’s really no biggie because it doesn’t affect the plot. (I’m just a stickler for historical accuracy.)

Perfect World has assembled a really good cast. Gabbie Adner, as grown-up Barbara, is a powerhouse singer. And I’m proud to say that my two other favorite voices belong to guys who are Mr. X and my fellow UCLA Theatre peeps. Michael Wells, in the role of Anderson, Barbara’s shipboard romance, has a lovely and beautiful voice. And Michael Deni, who plays the father, has the most charming moment of the production in his father-daughter dance number with Charley Rowan McCain, (who actually looks sort-of like the real girl,) as young Barbara.

There’s a bit more dancing along the way, which you know I always love. After the trio of young girls tap-danced, my friend Roz declared, “Adorable.”

My favorite aspect of the entire presentation is the visuals. The set by Stephen Gifford is truly stunning. I could live in it! And I appreciated that they staged some of the action on a higher level because from many of the seats in that smaller theatre in the El Portal, due to the heads in from of you, all of the floor can’t be seen. So having some of the action on balconies helps break up the semi-obstructed view.

I went especially nuts over Brian Gale’s stunning projections! Especially the one of my precious Brooklyn Bridge. But they are all perfect. And made me even forget the size of the venue.

I also applaud the costume designer, Jennie Lynn Deck, who did a lot of the heavy lifting on this show. The characters keep changing back-and-forth between the girl’s ages and locations, and the parents’ attire has to go from 1922-1939, (which is akin to imagining what we wore seventeen years ago,) so Jennie did a great job, especially with the time period.

As far as the songs go, none of them got to me, but I absolutely adored the music that played in-between the scenes.

I appreciate details that make people realize how hard writing is. (And for little to no money, I might add.) In one scene, young Barbara loses her entire final manuscript in a fire. I semi-understand how horrible that was for her. On my very first writing job, I had just finished a super long column about all my experiences on a recent two-week trip to New York. After working on it for several days, I was finally done at two or three in the morning, but then pressed something on the computer, (I still have no idea what,) and lost the entire thing!!! Even Mr. X couldn’t save it. But, instead of crying, (except on the inside,) I just sat right down and started writing it all over. But I doubt the second one was as good as the original. And it took soooo many more hours. Barbara Follett’s loss was a zillion times worse, of course. I’m glad this soul-shattering episode was included in Perfect World so audiences can realize some of what writers go through.

On the happier side, (very happy,) it was fun to realize that her little best friend is imaginary! It reminded me of my imaginary besties, the brother and sister duo of Peter and Diane Kosher. But I didn’t sing and dance with them—we just did financial planning. (I’m not ashamed to admit to my time with the Koshers. And I have to tell you the really interesting thing is that I had big Peter and Diane, and little Peter and Diane. I rang little Peter and Diane every night from my beloved red phone in my room, which was not imaginary but definitely a toy, and I had important meetings in the bathroom with big Peter and Diane and…my father’s checkbook! I still barely know how to write a check, so I guess the Koshers didn’t help me that much.) And no—my family was not kosher, so I have no idea whence came that moniker!

The only real downside of Perfect World is that, at a bit over two and a half hours, it’s waaay too long. And more than a tad repetitive. A lot of it can easily be cut, especially some of the kids’ numbers. There are so many songs for a young girl! The second half of the show is better than the first because it’s the grown-ups’ turn to sing and dance.

I do have to warn you that Barbara Follett’s disappearance is never resolved, so there’s no real or satisfying ending to this musical. The accepted thinking through the decades is that she walked out her door with just thirty dollars, and disappeared. But my detective mind wants to know if anyone actually saw her leave, and just who ascertained how much money she had. I personally think her husband murdered her. And got away with it because it happened over five decades before Dateline came on the scene!

I can’t end this review without one nod to the theatre itself. The El Portal means a lot to me because…that’s where I met not only Jennifer Hudson, but much much much more importantly, a young, undiscovered Adam Lambert!!! After that first meeting, (where I told him his singing is a religious experience, and he and his friend giggled and said they loved that,) we’ve bumped into each other very many times since then. So, I always thank this venue for that fabulous introduction.

Getting back to Perfect World, this is an extremely limited engagement, so if your appetite is now whetted for this brand new musical, you have just this weekend left to see it!

Perfect World running through November 9, 2025
El Portal Theatre—Monroe Forum
5269 Lankershim Blvd. North Hollywood
818-508-4200 www.elportaltheatre.com