BWW Reviews: Contemporary Theatre of Dallas LITTLE WOMEN Jumps Off the Pages

In a contemporary era where technology reigns supreme, sometimes it behooves us to allow our minds to go back to times when life was easier, simple, less rushed where leisure time didn't consist of a busy social calendar or taking your children to yet another activity to keep them engaged with their peers.

And there's no better way to do that than pick up a book. Not an e-Book downloaded to your Kindle or Nook but a good ole fashioned book with actual pages that you turn, not slide with your finger. For me, nothing beats an afternoon that I block off intentionally when I don't have to work, pick up a book, and lose myself in the world an author has created.

Contemporary Theatre of Dallas (CTD) has created the next best experience with its current musical production "Little Women," inspired by the classic book of the same title by famed author Louisa May Alcott based on her life growing up as a child with her three sisters during the Civil War.

True to the imagery and spirit of the literary piece, CTD's production has the effect of words and the story LITERALLY leaping off of the page similar to a pop-up books that are favorites among young readers.

With outstanding direction from Michael Serrecchia, the entire CTD technical staff should be applauded for creating a visual presentation of the story that was simply SPECTACULAR, with major kudos for Rodney Dobbs who created a fabulous set that was part performance areas and part library with human size books depicting titles like "The Inheritance," "Under The Lilacs," "Jo's Boys," "Rose in Bloom," "Eight Cousins," and Alcott's "Little Women" and "An Old Fashioned Girl" novels.

Adding to the technical effort was Nate Davis who provided exquisite projection images of pages in a chapter that turned as the story progressed and helped to cement the tale, along with appropriate lighting, sound, costume design, and prop design by Jason Foster, Rich Frohlich, Michael A. Robinson, and Jen Gilson-Gilliam respectively.

Leading this delightful tale is our heroine Jo March, played with youthful exuberance and fire by the extremely talented Monique Abry. Whether actively narrating the story as the protagonist who has dreams of creating a 'tragic opera,' belting out a tune with gusto, or coming home wiser as an elder world citizen, Abry commands the stage and makes the story hers.

Equally impressive in the pipes department was Angela Davis in the role of Marmee March, the matriarch of the clan and Brian Hathaway as Professor Bhaer. Whether longing for the physical love of a husband off at war or contemplating the complex emotions of a budding love affair, the songs each performed were executed with panache and grace and girded their characters completely in the story.

It must be noted that while the other actors' voices didn't match Abry, Davis, or Hathaway's in terms of audience projection, under Scott A. Eckert's music direction their singing still contributed to the collective whole, especially at points where chorus singing was employed.

But while "Little Women" is a musical, one can't forget there is an actual storyline, not simply musical entertainment. In addition to Abry and Hathaway, the standout performances of Mary Tiner as Aunt March and Katie Moyes Williams as Sister Beth March, along with Dan Servetnick in a supporting role as Mr. Laurence help to cement Alcott's story as timeless literature.

Tiner is a spit-fire as the snooty and pretentious aunt who is more concerned with appearances and her nieces marrying into the right type of families. When she tries to recruit Jo as her latest social guinea pig being groomed for matrimony, she proclaims with confidence "All girls MARRY!," as it is a societal requirement, to which Jo retorts "I don't CARE about society!", asserting the independent, feminist streak she maintains throughout the story.

Likewise for Williams who plays Beth with such tenderness and love that she was a joy to watch. In her final scene with Jo, in which she instinctively knows she isn't long for this world, the sisterly bond between the two characters was so sweet, genuine, and touching that sniffles could be heard throughout the audience.

It should be noted in addition to the ten actors and the eleven characters they played, there was one additional participant that caught this critic's eye. Throughout the majority of the show, I observed an unnamed, young Asian girl three seats down from where I was. She stood up throughout most of the musical TRANFIXED on the story in front of her.

With that visual in mind, as a critic I realized that sometimes we have to view theater through the eyes of a child to fully appreciate its impact. Close to 150 years after its initial date of publication, "Little Woman" still has the power to capture the youthful imagination we all have and cross all cultural and generational lines.

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"Little Women" runs through November 2nd with regular performances on Thursdays at 7:30pm, Fridays and Saturdays at 8pm, and Sundays at 2pm. For tickets, call (214) 828.0094 or visit the Contemporary Theatre of Dallas website at: www.contemporarytheatreofdallas.com. The theater is located at 5601 Sears St., Dallas, TX 75206 (one block west of lower Greenville, behind the former Arcadia Theatre).

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