To revive and reimagine a classic novel is no easy feat. It takes a particular skill to balance traditional concepts in a contemporary context – and when the novel in question is as enduringly popular as Little Women, the stakes are even higher.
Broadway’s 2005 adaptation of Louisa May Alcott’s 1868 coming-of-age classic has arrived for a highly-anticipated season at Sydney’s Hayes Theatre Company under the eye of director and choreographer Amy Campbell (A Chorus Line, Once). Little Women has been churned through countless adaptations (most recently, Greta Gerwig’s 2019 film). The question is – is this musical (with book by Allan Knee, lyrics by Mindi Dickstein and music by Jason Howland) able to capture the charming essence of the original text? And has the local team been able to tap into that spirit of sisterhood love, while also embracing a modern perspective? In some ways, the answer is yes, but the balance is off.
...under Campbell’s direction, Little Women is a uniquely innovative musical that will surprise you until the very end
Tanwee Shrestha’s set design is thoroughly minimalist, the stage is almost bare except for some strategic arrangements of stretch cords (2 kilometres in total!). While this modern design is an unconventional choice, it beautifully enables the finely crafted execution of every emotion, thought and action as the performers weave, crawl, and bounce through the cords. It’s a fantastic use of the space, inviting the audience into the March sisters’ worlds (both real and imagined) without overwhelming the modest stage with too many bells and whistles. Meanwhile, Lily Mateljan’s elaborate costumes come alive against Shrestha’s stripped-back staging. The costuming largely stays true to its 19th-century roots, while contemporary twists reflect each character's personality traits – from Jo’s ruffled and disheveled trousers, to a poet’s blouse for Laurie. Peter Rubie’s lighting is the emotional crutch of the performance, drawing the audience in deeper and serving as a nuanced storyteller.
A key element of what makes Little Women so timeless is the distinctive vulnerability each of the March sisters embodies as they navigate the trials and tribulations of growing up during the American Civil War, building complex characters and intimate relationships with the power to leave audiences feeling like a member of the family. However, this production doesn’t quite establish this essential element of sisterly affection, instead relying on the audience’s assumptions, which leads to a lacking sense of intimacy.
The story’s original halo of warmth has been removed, replaced by a fierce and boisterous version of the March sisters that may ruffle the feathers of more purist fans. Marmee’s (Emily Cascarino) compassion is replaced for sternness, Beth’s (Molly Bugeja) modesty for boldness, Jo’s (Shannen Alyce Quan) ambition for longing, and Laurie’s (Lawrence Hawkins) cheek for meekness. These new characterisations strip away much of the story’s integral intimacy.
This is further exacerbated by the gaps in the plot, which require the audience to do the heavy lifting of filling in the blanks (and if you haven’t had a recent refresher on the book, that’s a tall order). What remains are characters whose actions seem removed from their desires and motivations. To this production’s credit, the choice to have Beth’s sickness and death offstage is innovative – it poignantly reminds the audience of the character’s goodness, rather than the fragility that came with her death.
As in the books, Jo (the driven young author of the family) is at the center of this ensemble, and Quan (who also starred in Metropolis, which is nominated in Time Out Sydney's Arts & Culture Awards) delivers an exceptional vocal performance – their clear, powerful voice effortlessly carries across the theatre, with a range that’s broad and gripping from start to end. However, the show’s overly-enthusiastic interpretation of the character comes off as slightly awkward. Jo’s ambitions to be a serious writer are overshadowed by Disney-princess-style, doe-eyed enthusiasm.
Special mentions must be paid to Vitoria Hronopoulos’s performance as Amy, and Tisha Kelemen in her professional debut as Aunt March. Hronopoulos’s timing and execution of witty marks is remarkable – her character’s evolution from a stubborn child to a young adult is masterfully reflected in her tone, mannerisms and demeanour. Meanwhile, Kelemen’s debut performance is the highlight of the show – she conveys a deep emotional range, even with her limited stage time. Her impeccable timing and delivery bring a delightful humour to the role, her nuanced and authentic performance making her a standout in the cast.
Under music director Gianna Cheung and music supervisor Laura Tipoki, the bands’ impeccable timing creates an immersive experience that enhances the narrative flow, demonstrating a mastery of pacing that ensures musical cues align harmoniously with the actors' movements and dialogue. The punchy and vivacious score stays true to traditional musical theatre; however, the music is at its most memorable in the scenes at Cape Cod with a convalescent Beth, echoed by gentle ocean noises. The diegetic sounds sparkle in these softer moments, summoning a sense of admiration for Beth’s ease and contentment with her fate, before she takes her final bow.
While this production shines in several poignant scenes, uneven pacing and some gaps in the plot detract from the overall impact. However, despite its shortcomings – under Campbell’s direction, Little Women is a uniquely innovative musical that will surprise you until the very end.
Little Women is playing at Hayes Theatre Company, Potts Point, until August 11, 2024. Find out more and snap up your tickets over here.
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