Review by Tim Garratt
Little Women is the most seminal work by 19th century American author Louisa May Alcott. First published in 1868, the novel continues to be popular and has inspired several screen and stage adaptations. Among these is a musical theatre iteration (with a book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein), which had its Broadway premiere in 2005 before making its Australian debut in 2008.
Little Women in its musical guise is now back on stage in Australia, this time at Sydney’s Hayes Theatre Co, in a new version directed by Amy Campbell. Like Alcott’s semi-autobiographical novel, the musical tells the coming-of-age story of the March sisters – Jo (Shannen Alyce Quan), Meg (Kaori Maeda-Judge), Beth (Molly Bugeja), and Amy (Vitoria Hronopoulos) – growing up in Civil War America with their mother/Marmee (Emily Cascarino), while their father is serving as a chaplain in the Union army.
The story follows the trajectory of the Marches, as they navigate their way from childhood into adulthood. While we’re given glimpses into each of their lives, it’s Jo’s struggle to find her place in the world that remains front and centre. Jo is a free spirit, with aspirations to travel to Europe and become a published author. Her experiences of success, disappointment and loss cause her to reflect on – and profoundly appreciate – the strength of her bond with her sisters and mother. From the outset, Jo is somewhat fearless, but as her story unfolds, her courage and resilience strengthen, buoyed by her realisation that those bonds are uncompromised by her challenges in life.
While the story has been streamlined for the stage, the power of familial relationships remains central in the musical version of Little Women. Howland’s score is enjoyable though not particularly memorable, but in Campbell’s production, it’s well reproduced by a superb seven-piece band, led by music director Gianna Cheung. Jarrad Payne’s sound design ensures the live music sounds terrific and vocalists are well amplified.
Tanwee Shrestha’s abstract set is a sparce and simple backdrop; it enables effortless location shifts, and also alludes to some of Little Women’s central themes, including the societal constraints and limits confronting American women in Civil War times. The set is effective paired with Peter Rubie’s lighting choices.
Bringing Alcott’s characters to life, a cast of 10 rises to the standard we’ve come to expect of Hayes Theatre Co. productions. Maeda-Judge, Bugeja and Hronopoulos are wonderful in their respective roles. Not only are the performances faithful to the characters described by Alcott, but there’s a strong chemistry between the performers that helps to convey the March sisters’ unyielding support for one another.
Cascarino succeeds in her depiction of the family matriarch, a brave woman providing care and stability for her daughters in a trying time. Cascarino has two solo numbers – Here alone in Act I and Days of plenty in Act II – and her delivery of each is moving and leaves an impression. The supporting cast members (Cameron Bajraktarevic-Hayward, Peter Carroll, Lawrence Hawkins, Tisha Kelemen and Tyran Stig) all embody their characters so wholly, it’s as though they were plucked from the pages of Alcott’s novel.
But this show belongs to Quan, whose performance as Jo is finely wrought. Quan’s ample soprano is an asset on its own, but their characterisation compels us to invest in Jo’s journey. In song and in dialogue, Quan brings us along, as Jo negotiates the world. This is precisely the performance this piece needs.
It’s been more than 155 years since Alcott wrote Little Women. Hayes Theatre Co’s production of its musical dramatisation affords a great opportunity to become acquainted with its worthy story, or to remind yourself of its enduring appeal.
For tickets and more information, visit Hayes Theatre Co’s website.
Photo credit: Grant Leslie Photography
