Review: LITTLE WOMEN Takes The Stage At Palm Canyon Theatre

I was a little uncertain before attending Palm Canyon Theatre's Little Women last week. It had all the earmarks of being the stage equivalent of a "Chick flick." Well, it turns out I needn't have worried. From the first song by tomboy Jo (Georgia Smith) at the top of the show, I was hooked. PCT's production retains all of the elements of the source material, but presents it in a way that is enjoyable to modern audiences. Mothers and grandmothers should bring their children and grandchildren, both to see what Americans were like during the Civil War, and also to see the value of family.

Almost certainly you have read the 1868 novel by Louisa May Alcott about the four Marsh sisters and their mother. The term "little women" was evidently an expression for females that were no longer children but not yet women. The oldest of the four girls is Meg (the bankable Katrina Dixon), then Jo who is basically the embodiment of the author, next is Beth (Jackie Padgett) and the youngest, Amy (April Mejia). Though the story is considered semi-autobiographical, it seems like Alcott gave each of the girls a distinct personality that strongly features one aspect of coming of age. The four young actresses at PCT did a wonderful job of displaying individual characteristics, and then unifying as a tight-knit family.

And keeping the family together is their mother whom they call Marmee (Laurie Holmes). First of all, her voice is magical on her solo ballads. She stays within the period, but injects a certain smokiness that gives them a modern relevance. And as for the acting, when she's with the girls, Holmes not only displays a delicate control, but she has the ability to unify with them when they face problems.

The book is primarily about Jo, Alcott's alter-ego, and quite frankly, Georgia Smith playing Jo owns the stage whenever she's on. She's featured in the first three songs and she sets the style for the show as not being frilly or precious. In short, she's a take-charge kind of gal and Smith is believable and likeable at every moment.

Also notable are Katrina Dixon as Meg, the oldest daughter, and Michelle Davis as Aunt March. Meg is exploring romance with John Brooke (Rob Kreisenger-Denk), and they share a nice duet Act I. Davis's Aunt March is a contrast to Marmee, the other adult woman. Davis plays the aunt as a stereotypical woman of the period who is serious and commanding. She won't put up with Jo being a tomboy! Her character added an important quality to the mix, not as sweet and loving as Marmee and her girls. McKenzy Kenan and Sanai Wright are also featured playing several minor characters and ensemble.

And as for men (yep, there are four of them), David Brooks is a delight as Professor Bhaer. When he entered early in the play I thought, "He looks familiar." Duh. Brooks has been in most of the shows at PCT for the past couple of years, but with a beard, glasses, a thick accent and a totally different hairstyle, it took me a moment to even recognize him. The character starts off a bit grumpy but ends up marrying one of the girls, and has a couple of nice songs. Another PCT regular who was enjoyable was Jesus Sandoval as the handsome young man from next door. I have watched him mature over the past several seasons and he has now hit his stride with acting and singing. Darin MacLeod as Mr. Laurence, the staunch neighbor and Rob Kreisenger-Denk as John Brooke, a suiter, are both solid and I hope we see more of them.

I have raved about the excellent projections by Nick Edwards in several shows earlier this season. They didn't work as well for me in this production. Designer and Co-Artistic Director J. W. Layne has opted for a totally white stage floor and curtains, which could be projected on. However, rather than traditional interiors he has chosen a single giant red rose on onte wall to symbolize the March household and a blue-violet flower projection for Aunt March's home. At intermission they projected a wonderful period wallpaper over all the white curtains and I wished they had chosen that for one of the houses.

On the other hand, Derik Shopenski's costumes are intricate, enjoyable, and certainly keep us solidly in the mid 1800's. The ladies all wear several different gowns, and the men mostly wear jackets that extend to mid-thigh.

The strong stylistic hand of the theatre's patriarch, Dr. William J. Layne, is evident in the directing. Each character has a distinct ingredient that they bring to the mix. He sets them up individually and then mixes them together delightfully. Co-Artistic Director Se Layne's choreography enhances the period and displays Shopenski's costumes to maximum benefit.

Musical Director Jaci Davis conducts the show from the piano, backed up by Larry Holloway on bass and David Bronson on drums.

Marsha Berry as Stage Manager, Jackson Enzler as ASM, and Nick Campbell as Sound Designer do their normal reliable service. In their jobs, the better they are, the less you realize they exist! Virginia Sulick and Kathryn Ferguson help out with costumes during the performance.

Little Women plays through April 23 with performances Thursdays at 7 p.m., Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $38 for adults; $34 for seniors; and $17 for students. Group discounts are available.

For tickets, sponsorship opportunities, or other information, call the PCT Box Office at (760) 323-5123 or order online at PalmCanyonTheatre.org. Palm Canyon Theatre is located at 538 North Palm Canyon Drive at the corner of Alejo Road. Box Office hours are currently Tuesday-Saturday from 10 a.m. to 4 p.m.

Next up at Palm Canyon Theatre is She Loves Me, an absolutely delightful musical that doesn't get seen too often. It plays May 5 - 14. Also coming up soon is valley favorite Michael Pacas in Big 'n' Easy, a one-night cabaret on April 19 at 7 p.m. He is joined by Katrina Holmes for vocals and Jaci Davis on keyboards. It promises to be a very special night as it wraps up the series of fundraisers that have been so enjoyable this season.

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