Review: LITTLE WOMEN THE MUSICAL at Studio Underground At State Theatre Centre

Louisa May Alcott’s timeless classic LITTLE WOMEN has been made into virtually every form of media imaginable. The book itself has been rewritten into many settings and times, there’s several movies and plays, and now it’s a musical. Whilst the process of condensing a well loved and thematically dense (not to mention familiar to many) book is fraught and misses the mark in some places, the creatives from Emergent Academy have put enough skills and talent into this performance to make for an enjoyable trip to the theatre.

Emergent Academy aims to nurture young talent, which means the cast are around the ages of the parts they play. This helps add a degree of feeling to many parts of the show that drives the coming-of-age arc. Starring as Jo is Tiara Volk (who rotates performances with Jemma Desforges), who serves as an excellent focal point for the plot. Like almost all the characters in the musical, Jo is not given many opportunities to develop, leaving Volk to portray the feelings and changes central to the plot. She meets the task with aplomb, managing to convey the many facets of Jo’s character. Volk also gives genuine feeling into the show’s songs, driving many of the themes that the show itself might otherwise struggle with.

As Meg is Aingeal Thomas. Despite having much of the character’s complexities reduced from the source material, Thomas excels, illustrating the character’s maturity as the eldest sister whilst still holding the old-fashioned ideals central to her own story. Her vocals are excellent, particularly her skills in harmonising. Ill-fated Beth is played by Lizzie Collier. With a similarly reduced part from what we may already know, she manages to deliver the love that make Beth memorable and important. The duet with Jo in Some Things Are Meant To Be is one of the more emotional parts of the show. As young Amy is Jessica Ferris, who perfectly encapsulates the youngest sister’s personal growth. She begins as immature but develops into a loving and caring sister as the story goes on. Maddy Reith, who plays the second act’s older Amy links up perfectly, continuing the character’s journey as the show progresses.

Driving much of the character’s developments throughout is Tayla Edwards as Marmee. With much of the heavy lifting in terms of plot and themes, she serves the role excellently, notably with her performance of Days of Plenty, laden with relatable and believable emotion and showing maturity beyond her years. Brock Klompmaker plays Laurie who portrays remarkable character growth. He begins as an immature and humorously aloof character but grows into someone who learns their own place as well as gaining an appreciation for the relationship the sisters have. Sean Smith is Professor Bhaer. Whilst his own story line is largely taken out of this plot, Smith manages an excellent clash with Jo, his sensibility contrasted with Jo’s ideals making for an intriguing opening to the show.

The domineering Aunt March I played by Therese Topliss, who plays the part with such vigour that the stern aunty trope is an immediately recognisable and perhaps familiar part of the plot. Charles Sherrington plays a loving John Brooke, illustrating the traditional male values of the time well. Riley Merrigan plays Mr Lawrence, whose development (albeit accelerated to the verge of inexplicable) into a tender character provides much of the warmer moments.

Olivia Jade’s direction is suited to the show and the space, with a large ensemble assisting with many of the transitions and bigger song pieces. There were times when the performers tended to spread out more than the needed to, however this also went to illustrate a separation between characters at times. A small band of multi-talented individuals under the direction of David Gray contributed a great deal to the show- more than you’d expect a three-piece band to do- whilst the costumes were suited to the period but also illustrate the poverty the family came from.

Regardless of how much you know of the book, LITTLE WOMEN THE MUSICAL will likely fall short. Several key plot points are either altered beyond recognition or removed altogether, whilst a great deal of the plot is so rushed it just doesn’t make sense. The young and talented creatives from Emergent Academy are very much what makes LITTLE WOMEN THE MUSICAL worth seeing. It’s unlikely to become your new favourite musical, but it may just feature your new favourite performer.

LITTLE WOMEN THE MUSICAL is at Studio Underground at State Theatre Centre until September 7. Tickets and more information from State Theatre Centre WA.

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