Jo: The Little Women Musical arrived at Theatre Royal Drury Lane as a one night only concert event, but it already feels like a show with serious ambitions beyond a single evening. Based on Louisa May Alcott’s beloved novel, with music by Dan Redfeld and book and lyrics by Christina Harding and John Gabriel Koladziej, this new adaptation places Jo March firmly centre stage, framing her story as both personal memoir and cultural milestone.
The approach to the storytelling is, on the whole, assured and emotionally intelligent. The first act takes its time, luxuriating in the domestic rhythms of the March household and carefully establishing the relationships between the four sisters, their mother Marmee and their orbit of friends and suitors. It is a patient and largely rewarding opening, allowing the audience to settle into an expansive narrative world. By contrast, the second act feels notably more hurried, ticking off major emotional beats rather than allowing them to land with their full weight. At over three hours, the evening does verge on feeling bloated, and a more even redistribution of material between the acts would sharpen the overall impact.
Musically, however, this is an exceptionally appealing score. Redfeld’s writing leans unapologetically into a classic musical theatre sound, sweeping, lyrical and rich in melody. The numbers are plentiful but cohesive, flowing naturally from one to another and reinforcing key emotional themes. The title song “Little Women” stands out as a lyrical thesis for the piece, encapsulating the bonds of sisterhood with warmth and clarity. Throughout the evening, the music consistently delights, hinting at why the already released cast album has garnered such interest.
This concert staging, semi-staged in nature and necessarily spare in design, occasionally struggled to clarify shifts in location and time. Without sets or costume changes, some scenes blurred together visually, particularly for those less familiar with the novel. It is clear that Jo is not, and could never be, a chamber musical. The grandness of the score and the scope of the storytelling cry out for a fully staged production, ideally in a large theatre with sumptuous sets and period costumes capable of matching the work’s ambitions.
The casting assembled for this concert was nothing short of extraordinary. Christine Allado is superb in the title role, capturing Jo’s forthright spirit and fierce determination to escape the limitations imposed by society. Her performance brings a welcome modern sensibility to the character without losing any of her literary roots. Tobias Turley is perfectly cast as Laurie, playful and charming, injecting energy whenever he appears. Each of the March sisters is given space to shine, with distinct characterisation and beautifully sung solo moments.
Liam Tamne makes a strong impression, Julian Ovenden brings gravitas and warmth as Father, but the evening’s true highlights come from Kerry Ellis as Marmee and Tracie Bennett as Aunt March. Watching two such powerhouse performers share a stage is a genuine privilege, both delivering performances of nuance, authority and emotional depth.
Despite its uneven pacing, Jo: The Little Women Musical emerges as a compelling and perhaps the finest stage adaptation of Alcott’s novel to date. If the storytelling is tightened, it feels destined for a successful future, one that could bring a whole new generation to this enduring story of creativity, family and courage.
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