If Louisa May Alcott were alive today, she would probably be quite tickled to discover that her celebrated novel, Little Women, had been adapted in to a musical. Not least because Alcott herself was a bit of rebel, but also because music played such an important part in the life of her family.
Little Women The Musical premiered in New York some sixteen years ago, but didn’t receive its European Premiere in Manchester until 2017. It’s probably safe to assume that this musical with a book by Alan Knee, would have transferred to London a lot sooner had the pandemic not got in the way.
Knee’s sensitive adaptation follows the story of the four March sisters closely, with eldest sister Jo (whom Alcott based upon herself) leading the narrative, as she does in the book. The opening scene highlights the misogyny of the era and reinforces Jo’s ambition to succeed on her own, without the desire to take a husband.
All of the major plot points are included, and it moves at just the right pace to honour the novel, without feeling drawn out. Where this production becomes unique is in Jason Howland’s music and Mindi Dickstein’s lyrics. There’s a fine mix of peppy numbers alongside powerful ballads, and under Leo Munby’s direction, the four-piece female string quartet sound utterly divine.
Bronagh Lagan’s direction pays particular attention to the relationship between the sisters, and also their relationship with Marmee (Savannah Stevenson). This production conveys a sense of deep understanding of not only Knee’s adaptation, but also Alcott’s original work.
There are a couple of performances that struggle; wavering accents not helped by a tendency to overplay the role. But thankfully these are smaller roles that spend less time on stage, and do not detract too much from the stellar performances of the central characters.
Lydia White is on stage for almost the entire production, it is after all Jo’s story so it’s natural that this would be the most demanding role. White shines as our protagonist; bursting with a near uncontrollable energy, the eagerness to act on a whim and a determination to succeed are all neatly conveyed through White’s razor sharp portrayal of Jo.
Anastasia Martin, brings the serenity of Beth to the fore, and of course delivers some of the most poignant and emotional moments of the musical. Hana Ichijo brings out Meg’s unmistakable likeability, while Mary Moore is a tremendously fun and mischievous Amy, eliciting plenty of laughs from the audience. Sev Keoshgerian also succeeds in entertaining the audience with taught physical comedy blended into a strong performance.
Good use has been made of the Park stage by set designer Nik Corrall; Jo’s attic room portrayed above the living area of the March’s ‘petit Maison’ to borrow Amy’s words. But the story extends beyond the family home, and here it is Ben M Rogers’ lighting design that helps to create a sense of space and a world beyond their front room.
Translating one of the most famous books ever written into a full length chamber musical is no easy task, but Little Women The Musical definitely succeeds. Partly due to its careful consideration of the original, and partly because of the eminently enjoyable score that provides deeper meaning to this elegantly staged production.
