Louisa May Alcott’s classic, much loved tale of the coming of age of the March sisters in 19th century Massachusetts, is brought to the stage in an adaptation by Anne-Marie Casey. The narrative will be familiar to many, and is loosely based on Alcott’s own life. Sisters Meg, Jo, Beth and Amy, living a frugal life with their mother, Marmee, whilst father is away fighting in the American Civil war, struggle to keep spirits up as they endure the deprivations that poverty brings them. They could ask rich Aunt March for money, but no one really likes her or her strict views on what is considered proper behaviour in good society. When father is injured in battle, Jo (always one for the dramatic gesture), cuts off her hair and sells it for $25 to help pay for Marmee to travel to father’s bedside in Washington. And so, in Marmee’s absence, the sisters must fend for themselves.
Jo is the writer of the family and the narrative unfolds from her perspective. Played convincingly by Grace Molony, Jo is every inch the headstrong, independent, liberated young woman we expect from Alcott’s original story. Malony displays the driven energy of a young woman determined to be mistress of her own destiny, despite her disappointment at not being a boy. Older sister Meg, played by Jade Kennedy, settles for marriage to the staid and respectable John Brooke (Jack Ashton, doubling with the role of Professor Bhaer). Kennedy manages the transition from girl to woman, wife and mother of twins with ease and charm. Catherine Chalk plays the hapless Beth with frailty and pathos, while Imogen Elliot’s Amy exudes energy and enthusiasm, never quite growing out of her youngest sister role. The glue holding all the sisters together is the pragmatic and somewhat saint like Marmee, played by Honeysuckle Weeks. Creating the character of a strong, resilient woman, yet with kindness, tenderness and generosity, is no mean feat, and Weeks shows admirable skill in pulling it off. Belinda Lang’s Aunt March draws heavily on the Katharine Hepburn style of vocal delivery, but is none the less convincing in the role. Cillian Lenaghen is utterly charming as “Laurie” Lawrence, bringing a boyish and joyous ebullience to the role of Jo’s wannabe beau, only to find himself rejected in favour of the attractions of New York City. His later descent into drink and decadence followed by contented settled life as Amy’s husband is handled assuredly.
Directed by Loveday Ingram, this production would be better suited to a smaller theatre and is typical of the sort of play that would probably have been performed at Edinburgh’s King’s Theatre, if it were open. It isn’t quite suited to the size and grandeur of the Festival and struggles to engage fully, especially for the fairly long running time of three and a quarter hours, including interval. The set design by Ruari Murchison is inspired in parts, strange in others. I could never quite ignore the trees that appeared to be in the March family’s living room, and the Christmas tree with lights on it seemed somewhat incongruous, but maybe the lights were meant to be candles. However, the New York cityscape, seen in the second act through the windows of Jo’s boarding house, was most effective. Almost a star in its own right, was Mike Robertson’s lighting design, making sense of it all, and showing a considerable variety of imaginative effects which complemented, and indeed enhanced, many of the scenes.
Although not a musical, the cast nevertheless proves more than competent in its rendition of hymns and carols, none less so than at the opening of the play with “The Battle Hymn of the Republic” being sung quite beautifully with harmonies, and perfectly setting the scene. This play would benefit from being a tad shorter, but is nevertheless an entertaining and faithful retelling of the popular classic.
Little Women plays at Edinburgh Festival Theatre until 5th April 2025. https://www.capitaltheatres.com/
Reviewer: H.S.Baker
Reviewed: 1st April 2025
North West End UK Rating:
Rating: 3 out of 5.
