Christmas is not an easy time for theatre programmers. The demand is there, from young and old, but so is the competition. Eschewing the traditional panto, the full-scale musical and the seasonal farce, HOME has instead opted to revive Anne-Marie Casey’s adaptation of the classic novel Little Women.
It is a very smart decision.
First performed last summer, this production is like a stage version of the very best Sunday afternoon TV drama. It is totally and utterly charming from the very first second.
Louisa May Alcott’s semi-autobiographical novel has truly stood the test of time and been adapted countless times and ways since the 1860s. This version is a relatively faithful, if stripped back, affair which smartly refreshes the storytelling.
At the height of the American Civil War, Abigail ‘Marmee’ March (Kacey Ainsworth) is doing her best to bring up her four daughters in difficult financial circumstances, whilst their father is away fighting.
Bookish tomboy Josephine (Rachael McAllister) is in charge, even if sister Meg (Jessica Brydges) may be older. Pianist peacemaker Amy (Julia Brown) and young Beth (Meg Chaplin) make up the foursome.
As the first act unfolds, the sketched outlines of the sisters’ characters are slowly, but beautifully, fully drawn and coloured in.
The scenes may be light on gripping plot points but they canter along at a good pace under Brigid Lamour’s simple, but clever, direction. That being said, the speed at which telegrams and letters are read and explained does push the boundaries of believability somewhat.
The family members must balance their individual wants and desires with the restrictions of the time, as well as Marmee’s philosophy to always ‘try to do good’. The loves and rivalries are utterly convincing and beautifully played.
They are joined on stage by just a handful of other characters: the traditional matriarchal Aunt March (Susan Twist), rich neighbour Theodore ‘Laurie’ Laurence (Daniel Francis-Swaby) and his tutor John Brooke, as well as the German Professor Bhaer, who Jo encounters in New York (both played by Tom Richardson).
However, the Marches are at the heart of this story. At their head, Marmee is played with subtle brilliance by Kacey Ainsworth. A whole world of emotion is conveyed with the smallest of looks. This is a masterclass in ‘show, don’t tell’ acting and it is a joy to behold.
The first part of the second act belongs to Jo and Meg. Rachael McAllister and Jessica Brydges have a lovely chemistry. Kudos too to Susan Twist for successfully making her Aunt March both nightmarish and nurturing.
The costumes are pleasingly gorgeous, but the set is even better. A forest of shadowy silver trees are at the heart of Ruari Murchison’s design, lit beautifully by Kate Bonney. With just a handful of items, the stage convincingly becomes a New England living room, a New York boarding house and even the location of a Parisian ball.
Quietly, Little Women still has something to say about feminism and reform. But, as the snow begins to fall at the end of the second act, it is the poignant and romantic family drama that remains crucial to the success of this production.
There are plenty of showier theatrical alternatives out there but, in the best tradition of family favourites, this is an unfussy and accomplished seasonal classic.
Playing until 23rd December 2023. Tickets and more information can be found here: https://homemcr.org/production/little-women/
Reviewer: Peter Ruddick
Reviewed: 12th December 2023
North West End UK Rating: