NEW YORK—The written word is a powerful tool, especially when it transforms a method of communication into something more. That’s what happens in the touching romantic comedy “Dear Jack, Dear Louise” by Tony Award-winning playwright Ken Ludwig. Now having its New York City premiere, Ludwig explores his own family history in this story set against the backdrop of World War II.
In June 1942, U.S. Army Capt. Jacob “Jack” Ludwig (Michael Liebhauser), a doctor stationed at an Oregon military base, puts pen to paper and writes to Louise Rabiner (Alexandra Fortin), a struggling New York actress. The two have never exchanged a word before, much less seen one another. Jack is only contacting her at the urging of his parents, who are close friends with Louise’s parents. Louise, who is more outgoing than the somewhat reserved Jack, soon responds, and the two begin corresponding.
A Litany of Letters
As the weeks and months pass, Jack and Louise find themselves becoming something more than “scribble buddies,” as Louise initially terms it. The two slowly open up to one another. Jack explains why he decided to become a doctor, while Louise describes her rounds of endless auditions as she hopes for her big break. The closing lines in their correspondence slowly evolve from “sincerely,” to “all best,” to “all affection,” and finally to “love.”While the two eventually learn what each other looks like and briefly speak, attempts to meet in person are thwarted by Jack’s wartime responsibilities and Louise’s thespian opportunities. These missed chances are met with support and understanding on both sides, tempered by more than a little disappointment.
Ludwig’s script spans an almost three-year period. It lovingly opens a window to a previous era, before people could type words on a hand-held device and hit “send.” It was a time when writing was the main form of communication, because phone calls and telegrams were prohibitively expensive for most people.
It was a time when receiving an almost instant response didn’t exist. Jack and Louise had to wait days or weeks at times before the arrival of another letter. During these intervals, they wondered if they had inadvertently written something that had offended the other, which might have caused the end of their relationship. These questions arise as the pair face loneliness, jealousy, and a very real fear of loss as time goes on.
The play also looks at the social mores of the day. Both Jack and Louise refrain from strong language in their letters—Louise’s strongest written profanity is “hells-bells.”
Overshadowing the developing love story is the ever-present reality of war and the possibility that Jack might be sent overseas. It forces Louise to face the fact that she may never again hear from the man with whom she has become so close.
Jack and Louise’s letters set the play’s tempo—as they get to know one another, the audience gets to know them. Both actors do an excellent job in bringing their respective characters to life. Fortin shows Louise to be quite the free spirit—full of fun. She’s the initial pursuer in their interactions, telling Jack, “You can do better than that” in response to his early, rather formal letters. Fortin clearly displays Louise’s passion when it comes to acting, such as when she demonstrates to Jack her upcoming audition for a Broadway show.
At first glance, Liebhauser’s Jack comes off as determined and caring, yet slightly officious and closed-off. That all changes with the character’s absolutely hilarious, and escalating meltdown when he attempts to stop Louise from visiting his family in Philadelphia. His family includes a somewhat overprotective sister and 11 aunts. Jack’s list of reasons why Louise shouldn’t go only serves to increase his anxiety.
Christian Fleming’s split set nicely matches the two characters and their circumstances: a relatively spartan playing space for Jack, as opposed to Louise’s more eclectic one. Also key is the work by sound designer Jeff Knapp, especially when it comes to the combat dangers Jack experiences toward the story’s end.
Helping to tie everything together is Stephen Nachamie’s direction. It keeps the show moving along smartly with no awkward pauses, while ensuring the comedic and dramatic moments unspool in seamless fashion.
Portrayed with loving care by everyone involved, “Dear Jack, Dear Louise” never fails to touch the heart and charm its audience, especially with the knowledge that the tale being told is based on the real-life story of falling in love by letter.
