Reviewed – 17th November 2021
“The full cast of eleven are in fine voice, supported by the rich string arrangements of the music”
Louisa May Alcott’s novel “Little Women”, originally published in two separate volumes in the 1860s, was said to be one of the first visions of the ‘All-American Girl’. It was hailed as being ahead of its time, and as such has stood the test of time. Continuously in print, with many film and television adaptations under its belt, it finally made it into musical form at the beginning of this century, opening on Broadway in 2005. Today’s audiences might not find the scenario unduly innovative, but it is its charm and endearing representation of the multi-layered personalities that draw you into the story. And Bronagh Lagan’s staging at the Park Theatre has charm in abundance.
The ’Little Women’ are the four March sisters: Amy, Beth, Meg – and Jo steering them through the treacherous subplots of growing up. The rites of passage are brilliantly navigated here by the strong cast that give a passionate portrayal of the inevitable loss of innocence when childhood and womanhood overlap. This is also one of its only snags, though, particularly in the first half when the characters’ young ages jar slightly with the on-stage physicality. But that minor moan is swiftly swept away as we get caught in the current of song and story.
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The story focuses on the sisters’ differences. Amy is the baby, yearning for sophistication that’s out of reach. Selfless Beth is timid and musical. Meg, the eldest, is the most traditional, while Jo burns with a determined passion, struggling to find her place in the world. Allan Knee’s book pushes Jo centre stage, whose fiery energy Lydia White captures marvellously, while her theatrical generosity allows the others to shine too. Mary Moore is a bundle of joy as the young Amy, Anastasia Martin is ultimately heart-breaking as the tragic Beth and Hana Ichijo deftly mixes romanticism and pragmatism of the oldest sister Meg in probably the most difficult personality to portray. Savannah Stevenson’s charisma rules the roost as the matriarchal Marmee; a compellingly watchable performance that comes into its own during her two solo numbers.
The full cast of eleven are in fine voice, supported by the rich string arrangements of the music. Whilst Jason Howland’s score never takes your breath away, the sumptuous melodies and Mindi Dickstein’s plot driving lyrics add stirring layers to the narrative. A story that is intercut with vignettes from Jo March’s mostly unpublished attempts at writing. We long for everything to work out for these far from little women, we feel the joy when it does, and our senses are tugged when it doesn’t.
The humour and the pathos are captured in equal measure. You want to laugh, and you sometimes want to cry. It doesn’t rock you to the core but on a cold evening as winter fast approaches it will certainly warm you with the glow of its captivating charm.
Reviewed by Jonathan Evans
Photography by Pamela Raith
Park Theatre until 19th December
Previously reviewed at this venue this year:
When Darkness Falls | ★★★ | August 2021
Flushed | ★★★★ | October 2021
Abigail’s Party | ★★★★ | November 2021
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