"Little Women" is a much-loved classic, an essential stop on any young girl’s reading journey since it was first published in 1868 and rendered popular with non-readers in recent years by the film adaptations of 1994 and 2019.
Primarily told from headstrong Jo’s perspective, it is an affectionate and gentle coming of age story. As Pa has gone to serve as a Chaplin in the army, Marmee is left at home with tomboy Jo and her sisters Meg, Amy and Beth. Jo writes stories and plays, encouraging her sisters to perform and enlisting the forlorn next-door neighbour, Teddy Laurence, to join their rambunctious band. Louisa M. Alcott was herself a ‘literary spinster’ and much of "Little Women" is based on her life in New England during the American Civil War. The four March sisters are blossoming into womanhood, learning to navigate polite society and trying to follow the teachings of their much-thumbed Pilgrim’s Progress. Despite Alcott’s own opinions on the limitations of marriage, much of the story centres on the acquisition of suitable husbands – although suitability is defined differently by the girls’ Great-Aunt March than by the sisters’ more liberal parents. Allegedly, the novel was originally written for Jo to remain unmarried, but Alcott was persuaded to give her a husband in a bid to sell more copies!
The production was delicious to look at. The costumes were true to the period (and not too pristine either – a healthy dose of creases and fading in the girls’ dresses added realism), the props were well researched and again, suitably worn when necessary. It was staged on a fixed set, dotted with bare silver birch trunks and vintage furniture, against a black background, with columns of black creating a walkway across the entire back wall. These were used with good effect to create perspective and in Act 2 were backlit to create the windows of a New York skyline. The lighting was atmospheric and used colour to good effect. There were one too many instances where faces were lost – a fault in the lighting or in the actors’ positioning? It was hard to tell. The sound too was well considered – a blend of effects and live playing, with harmonised singing of the girls. The use of the military horn and battle cries was a great reminder of the larger political scene against which this homely little story is told. There was an unfortunate glitch in the soundscape, right in the middle of the death scene in Act 2 but this, surely was a one-off.
This adaptation by Anne-Marie Casey for Pitlochry Festival Theatre, crams in most of the key moments of both 'Little Women' and its sequel 'Good Wives' - although not always in the right order, much to my frustration. Meg (Jessica Brydges) and Amy (Julia Brown) have high hopes and try hard to uphold the standards expected of a family with a much higher income. They despair of Jo (Rachael McAllister) ever fitting in, anxious that she doesn’t embarrass the family. Meanwhile Beth (Meg Chaplin) is meek and shy, staying close to home and spreading kindness. Chaplin’s stints at the piano added to the homely feel and the musical moments were a delight harking back to the days when families all owned a piano and made their own entertainment. The challenge for the sisters is to portray young girls on the brink of womanhood. Brown, Brydges and Chaplin were convincing teenagers and Brown’s Amy made a beautiful crossover from a gauche baby sister to elegant young wife. Brydges too came of age with grace, portraying a woman whose ambition was curbed as she saw the good character and loyalty of John Brooke (Tom Richardson). Whilst McAllister was an engaging adult Jo in Act 2, her younger persona didn’t quite ring true in the first act. She overwhelmed Kacey Ainsworth as Marmee and was too strong for Daniel Francis-Swarby’s Laurie. In fact, Act 1 was underwhelming in many ways – it didn’t live up to the production values laid out by the set and costume design. The lowlight of the evening was a poorly executed ice-skating scene which made my companion and I cringe. By the time the interval rolled around at 9 o’clock, I was feeling rather disgruntled. However, Act 2 went a long way to redeem the evening. McAllister’s adult Jo and Richardson’s Bhaer were delightful to watch. Richardson was the best thing about the whole play for me – playing two different love interests with nuance and presence.
Amy’s illness and resulting death were well-handled; played right up front so the emotion got you in the eye. And with the soaring voices of 'Silent Night', her absence was felt keenly - more than one tear was shed! Amy’s story comes to a resolution and by the end even Jo gets her man (whether Alcott approved is another matter). The final scene was announced by a falling of snow across the back walkway which was echoed across the apron as Jo and Bhaer finally understand each other. A beautiful end to a pretty production. The jaunty dance before the bows was an odd choice, but there we have it... some odd choices and lovely moments, gorgeous to look at, and wrapped up in just enough carols and Christmas references to make one feel festive.s
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