Little Women

‘Little Women’ is the much-loved classic semi-autobiographical novel written by American author Louisa May Alcott and has been adapted for stage by Ann-Marie Casey.  As with most novel adaptations, particularly one as well-known as ‘Little Women’, an obvious challenge is trying to condense the story. We ask ourselves not so much “what will happen next? but rather “which parts will be left out and which included?” or even “how will they do that bit?”  

We aren’t disappointed. Most of the familiar stories are there: the girls and their mother visiting the Hummell’s who are even poorer than them, Amy destroying Jo’s work after she isn’t allowed to go to the theatre, Amy falling though the ice and being rescued by Laurie, Beth’s illness following her visit to the Hummell’s where she picked up scarlet fever; Meg’s relationship with John Brooke, Jo’s relationship with Laurie and her relationship with Professor Bhaer.

Directors Al Duncombe and Gina Johnson-Hirt have taken all the challenges of this play and created a charming insight into the trials and tribulations of the March sisters their personal growth and their coming of age from ‘Little Women’ into mature grown ladies.

Set during the American Civil war, our story starts with the girls acting out one of Jo’s stories, play fencing vigorously across the stage, with Jo scolding Amy for her lack of realism saying she is ‘stiff as a poker.’  We quickly see the differences between the sisters and their personality flaws: Meg, the eldest sister is sweet-natured and feminine although slightly vain; Beth loves reading and playing the piano but is cripplingly shy; Amy has a talent for sketching but is selfish and self-centred and Jo is feisty passionate and artistic but has a fiery temper. Jo has been writing a book for over three years and when her creative muse strikes, she dons a coat and floppy stripy hat sitting at the desk then secreting the manuscript in a chest. 

Their father is a chaplain serving in the army leaving the girls, and their mother Abigail ‘Marmee’ March, at home in a state of ‘genteel poverty’.  Marmee is kind and altruistic always trying to help the poorer people of the community which will have tragic consequences later in the story.

At a dance Meg and Jo are invited too, we see Meg’s vanity as she is determined to wear some entirely inappropriate high heeled shoes resulting in her spraining her ankle.  It is here Meg first meets John Brooke her future husband and Jo meets Laurie real name Theodore Laurence their neighbour’s grandson.  In another funny scene we see Laurie and Jo as they awkwardly try to dance the polka with Jo leading the bemused Laurie.

As time progresses, we see the sisters’ lives develop in different ways. Meg agrees to marry John Brooke but as she is still too young, they agree to wait for three years but she eventually becomes a wife and mother.  Beth stays home to help Marmee and falls dangerously ill because of the scarlet fever that had left her body weakened.  Amy is whisked off to Europe by Aunt March to experience art galleries and culture where she meets Laurie. Jo herself takes on employment looking after two young boys.  She is also writing some salacious crowd-pleasing pieces of fiction for a local newspaper the ‘Weekly Volcano’ the proceeds of which go to support her family.  It is here she meets the enigmatic older Professor Bhaer who will change her life forever. 

Alice Shingles as Meg was delightful as the older sister destined for the traditional role of marriage and motherhood.  Her facial expressions and mannerisms were lovely although sometimes her projection was a little too quiet and some lines of dialogue were lost.  The scene with Aunt March where she jumped to the defence of John Brooke was very funny. I also liked the split stage effect where she and her husband to be dictated their letters to each other which was sensitively done.  Her glow of happiness as she tenderly nursed her new babies was beautifully performed.

Lena Kristiansen made a sweet natured Beth acting as the peace maker between her quarrelsome sisters.  Her singing ‘Silent Night’ along with Amy was lovely. Beth’s character was always transitory and on her deathbed her line that she ‘never made plans for the future’ heartbreakingly confirmed this.  Her final scene was poignant as she sat up, leaving a devastated Jo to grieve, walked slowly away her nightdress glowing while giving a knowing wistful smile. 

Grace Freeman was a standout as the petulant Amy perfectly capturing her development over time from spoilt brat to sophisticated lady wearing an exquisite gown, her posture ram rod straight and not a hair out of place.  Her scenes with Jo were lovely showing some well observed sibling rivalry especially the scene where in a fit of jealousy she burns her manuscript.  I also liked her dictation of her letters to Jo as she travels around Europe and the scene with the despondent Laurie scolding him for becoming ‘abominably lazy’ showing how she herself had matured and blossomed into a sophisticated young woman.

A strong performance from Matthew Bain in the dual roles of John Brooke and Professor Bhaer who really showed his versatility as portraying the lovesick John and the older Professor. I liked the frission between the professor and Jo especially when they synchronised while quoting poetry and his scolding of Jo for her salacious newspaper stories not realising, they were hers.   He also had a convincing German accent.  

Also, a good performance from Robeol Michael as Laurie whose upbeat positivity shone through in his relationship and gentle teasing of Jo. I liked the dance scene and where he laughingly said her newly shorn locks made her look ‘like a porcupine’.  You could really feel his anguish and disappointment when Jo rejected his proposal leaving him heartbroken as she only saw him as a friend.  I especially liked his change in personality once he had been rejected by her and feeling sorry for himself lolling on the chaise longue as he is scolded by Amy.

Good supporting roles from Lauren Paul as Marmee as the nurturing caring mother of the March girls.  I liked the tender scene with Jo where she admits herself to having a temper.  Co-director Gina Johnson-Hirt was wonderfully cranky as Aunt March trying in vain to control her wayward nieces. Her scene with would be lovers John and Meg was very funny as was her admission to Jo that they could be ‘spinsters together’ only to be shocked at Jo’s running after the professor as she exclaimed ‘Christopher Columbus!’

Sophie Arnold’s Jo was a triumph.  She perfectly created the character of the rebellious, feisty headstrong Jo and balanced this with her desolation when she realised the effect of her actions.  I loved her grouchiness with her sisters especially her volatile relationship with Amy.  Her worries that she would lose Meg to John and her jealousy over losing her sister was beautifully observed.  Especially touching was her heartbreak when Beth dies in a sensitively handled death scene.  I especially liked her relationship with the professor as they realised their shared passions for literature and the final beautiful scene as she embraces him under the umbrella.  

The stage was at floor level with the audience sat in a semi-circle this did cause some issues as occasionally some of the cast had their backs to the audience.  The set was suitable for the period - a chaise longue, chair, piano, wooden chest and a desk which were all used to good effect by the cast.  The set was permanent, so a clever use of lighting and sound effects was used to create other scenes.  For example, sound effects of people chattering, dance music and a projection of windows onto the floor to create the dance scene and a backdrop of stars for the outdoor scenes.  We also heard sounds of fighting when John Brooke was on the front line.

Costumes were in keeping with the period and reflected the sisters changing ages and status. For example, simple tops and long skirts for the young sisters, more elegant dresses as they matured including a simple poplin dress complete with scorch mark for Jo and a satin blue dress for Amy.  I also liked the decorated black fringed shawl for Aunt March and her walking stick which she used to good effect. The men’s costumes were also appropriate to the characters for example Laurie’s smarter clothes when he meets Amy.

Congratulations to Al and Gina for a delightful retelling of a beloved classic story and well done to everyone behind the scenes for bringing it to life.

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.