Little Women

Little Women

KW Productions

Little Theatre, Leicester                                   September 2025

 

The Show

The musical version of Little Women is based on Louisa May Alcott’s mid-19th century novel, which reflects the life of the author, her three sisters, their mother and their lives in Massachusetts, while father is away on Civil War duties.

The original 2005 Broadway performance ran for only four months, followed by a year-long US tour, some international productions, including the UK in 2010. While the show won’t go down as one of the ‘great’ musicals, it deserves to be taken seriously for presentation by the more adventurous amateur groups. This production, by the ever-enterprising KW Productions, demonstrated how this musical version of the much-loved story can provide a worthwhile challenge for performers and a treat for audiences.

 

The staging & orchestration

An interesting staging placed the various scenes and periods within the same set – the actual locations explained by projected information. As a result, scene change distraction was minimised and any necessary furniture shifting performed quickly and subtly. Congratulations to Stage Managers Lydia Clemence and Simon Dickens, their deputies, and the Sound and Lighting design teams for effective stage management.

Presentation of this show was in the capable hands of Producer Keiran Whelan-Newby and experienced Director John Bale. The talented team delivered a polished presentation of the story, enhanced by well-performed musical numbers and skilled characterisations.

The musical score, without relying on ‘showstoppers’, contains well-constructed songs integral to the action and the story. A small unseen group of musicians effectively supported strong vocals. Congratulations to Musical Director Grace Bale on her sensitive handling of the show’s essential music.

Costumes were appropriate and attractive. The ‘historical vignettes’ illustrating some of Jo’s early stories, were performed by cast members in appropriate period costume, their skilled sword fighting choreographed by Danielle Sanders.

While not highlighted in the informative and nicely produced programme, it’s appropriate to mention the well-drilled and attractively choreographed movement in musical numbers performed by the small ensembles. A particular delight in this respect was the lively Five Forever quintet in Act One.

 

 

 

The cast

A production of this quality illustrates how Little Women could prove a continuing popular choice for groups wanting a small-cast production with strong characters and plenty of music.

Central to the story is Jo March, second oldest of four sisters, based on the original author herself and on stage for most of the action. The part requires a performance strong enough to carry the story, and this was provided very effectively by Danielle Sanders. In portraying this important character Danielle displayed her acting, singing, comedic and sympathetic stage skills, giving the production a firm base on which the other performers could themselves excel. Her energetic commitment never flagged, and her versatility shone through in the more tender moments, particularly in her gentle and moving scene at Cape Cod with ailing sister Beth.

Jo’s younger sister Beth, like her counterpart in the author’s own family, dies while still a young woman. Katie Draper performed the part of the most angelic of the sisters with a gentleness and warmth that gave her Some Things Are Meant To Be duet with Jo in Act Two a poignancy that could be felt in the audience. A moving portrayal without reliance on sentimentality.

Playing Meg, the oldest of the sisters, was Rose Bale who I last saw as Belle in KW’s ‘Beauty and The Beast’. Rose performed the part of the more mature and practical sister with a charming elegance. Meg’s realistic approach to the realities of the family’s life provided a strong link between her younger siblings and their mother, and her happiness at finding love, marriage and parenthood with Mr Brooke was convincingly presented in Rose’s assured performance.

Youngest sister Amy was initially the difficult one. Unhappy with her life and her self-perception as the least favoured, Katherine Wadd gave us Amy’s petulance with a convincing moodiness. As observers we saw her spiteful attempts at revenge but could then sympathise as Katherine portrayed the adolescent predicament. That, and her transition into the socially assured person who returned from Europe with Aunt March in Act Two, demonstrated Katherine’s skilled portrayal of a developing character.

Alexandra Elliott played the elegant lone mother with grace and dignity. She effectively portrayed Marmee’s love for her daughters while doing her best gently to shield them from the pressures of life in the absence of a breadwinning father-figure. Alexandra’s strong singing voice was shown to good effect in her reflective songs Here Alone in Act One and the thoughtful Days of Plenty towards the end of the performance.

Powerful performances were given by the male ‘love interests’ in the girls’ lives. Tim Stokes was Laurie, the young man next door whose affection proved unrequited by Jo, only to find it later reciprocated by the grown and sophisticated Amy. Tim’s performance in this light-comedy role provided another opportunity for him to show to the full his talent as entertaining actor, singer and dancer.

As John Brooke, Dan Rowberry demonstrated a pleasing tenor voice in his sincere and convincing portrayal of the dependable young man about to go off to war, intent on proving himself worthy of Meg, with whom he eventually starts married and family life.

Mr Laurence, Laurie’s grandfather, is introduced in the play as an irascible neighbour, tiring of Jo’s activities but later becoming, through friendship with the music-loving Beth, a close family friend. Played with reliable assurance by seasoned performer Tony Whitmore, his touching affection for Beth was sensitively and movingly portrayed in their shared song at the piano in Act One, the simple but delightful duet Off To Massachusetts.

In addition to overseeing the development of this theatre project, Keiran Whelan-Newby played the small but important role of Professor Fritz Bhaer who first meets Jo March in the shared boarding house at the very start of the show and ends up falling in love with her. Keiran gave the part of the quiet German intellectual a relaxed respectability and, with characteristic reserve and a just-perceptible accent, skilfully avoided the easy trap of stereotyped caricature.

Important supporting characters were Aunt March and Mrs Kirk. Mary Delahunty as the formidable Great-Aunt taking Amy to Europe on a character-building tour convincingly presented the austere, old-fashioned family senior, determined to use her wealth to turn one of her great-nieces into a lady of society.

Similarly, Amanda Sadler as Mrs Kirk gave a solid and warm portrayal of the kindly Irish owner of the boarding-house where Jo and Prof Bhaer first meet.

 

Thank you, KW Productions, for another polished and enjoyable theatrical experience, appreciated by a large audience. Performances of this quality aren’t achieved without hard work, creativity and commitment. The company can be pleased with the results of their efforts in this presentation of Little Women. My wife and I look forward to your next production.

 

Colin Blackler

Noda                                                                            September 2025

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.