The production made a striking first impression by placing the full orchestra on stage. It was a bold and beautiful choice, transforming the musicians into a central visual element rather than hiding them away. I found myself utterly captivated by conductor Dan Redfeld, who seemed to live every note with infectious energy. His whole body moved with the music, at times leaping - urging the orchestra through a score that felt lush, cinematic, and emotionally charged. Redfeld, who also serves as music director, orchestrator, and producer, has created a musical landscape worthy of a major film.
The show itself is the creation of Christina Harding and John Gabriel Koladziej, who wrote the story and lyrics and also putting together the production. Their respect for Louisa May Alcott’s original novel is clear; the musical stays surprisingly faithful to the book. The set is intentionally sparse, allowing the orchestra to remain the visual anchor and ensuring the story flows without interruption. This simplicity works beautifully, keeping the focus on the characters and the music.
As this was a world premiere, there was a special electricity on stage. The performers radiated joy and pride, exchanging small, almost imperceptible glances to one another as if aware they were part of something significant. Despite the nearly three hour running time, the show never dragged. The pacing was confident, the storytelling seamless, and the music carried the narrative with grace. The many American audience members responded with enthusiastic whoops and laughter, especially during references to the Revolution, giving the evening an added layer of warmth and camaraderie.
The casting of the March sisters was inspired. Their voices blended together that felt both intimate and powerful. The March family were assembled not just for their outstanding vocal range but for creating something magical before our eyes. This cast has an impressive back catalogue of work and definitely worth googling each and everyone.
Christine Allado’s Jo is everything one hopes for—fiery, ambitious, and emotionally complex. Her voice is stunning, but she never overshadows the ensemble. Kelly Mathieson brings a gentle radiance to Meg, her West End experience evident in every note. Eleanor Grant’s Beth is tender, joyful, and heartbreakingly innocent; knowing her fate did nothing to lessen the emotional impact, and many of us found ourselves wiping away tears. Sophie Pollono captures Amy’s evolution beautifully, shifting from sensitive child to poised young woman with ease. Her future in theatre looks incredibly bright.
The men who orbit the March family are equally strong. Tobias Turley’s Laurie is instantly lovable—buoyant, charming, and vulnerable. His journey from carefree boy to heartbroken young man is portrayed with sincerity. Turley, already known from his success in ITV’s Mamma Mia! I Have a Dream, proves he is a talent to watch. Liam Tamne brings steadiness and warmth to John Brooke, while Chris Mann’s Professor Bhaer offers a grounded, thoughtful counterpoint to Jo’s fiery spirit. Each actor brings depth to roles that could easily become overlooked.
The older generation of the March family adds richness and humour. Kerry Ellis receives rapturous applause the moment she steps on stage, and rightly so. Her portrayal of Marmie is full of compassion, strength, and vocal brilliance. Tracie Bennett’s Aunt March is deliciously cantankerous, delivering sharp humour while ultimately shaping the girls’ futures in profound ways. Julian Ovenden, though in a smaller role as Father March, provides the emotional anchor the family needs, and his presence is felt throughout even in his absence.
The cast, ensemble and musicians deserve immense credit. Their work is essential to the show’s success, weaving together the world of the March family with precision and heart. Jo – The Little Women Musical is destined for a long life. Once it finds a permanent home, I have no doubt it will continue to sell out and gather awards. It is a heartfelt, beautifully crafted production that honours a classic while offering something new. I loved every moment.
One night only.
Insatgram - jothemusical
Reviewed by Penny Curran
Sunday 25th January
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