Review: LITTLE WOMEN, Park Theatre

The March sisters seem to spike in popularity every decade or so, due to films, series or feminist movements. Most recently Greta Gerwig turned Louisa May Alcott's novel into a high grossing blockbuster featuring a stellar cast. Now the Park Theatre have resurrected Little Women in the form of a 16-year-old Broadway musical that nobody seems to remember even though it won Sutton Foster a Tony nomination. History repeats itself. With a book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein, the piece is sadly unmemorable, but the company give their best nonetheless. A list of forgettable songs populate a traditional musical with pacing issues that's nothing to write home about.

The show is quite faithful to the novel, and we follow the four sisters through youth to adulthood. Jo (Lydia White), Meg (Hana Ichijo), Beth (Anastasia Martin), and Amy (Mary Moore) live in New England with their mother (Savannah Stevenson). Their father is serving as a chaplain in the American Civil War and the family is struggling to survive. While they couldn't be more different, they love each other fiercely and unconditionally, growing up united in their devotion to one another.

At this point, it's safe to say that Alcott's is a well-oiled narrative. But paired with a forcefully conventional musical structure, unfortunately, it ends up making a piece of theatre that lacks novelty and excitement. Directed by Bronagh Lagan, the talent on stage is the best thing about it - with White being a force to be reckoned with as our beloved Jo. The show has more than a few lovely touches and visuals - Jo's story comes to life behind her as she tells it to Professor Bhaer (Ryan Bennett) and Amy shares a beautiful few seconds with Laurie as they fly kites during a fleeting scene change - but it's not enough to build solid enthusiasm.

Nik Corral curates the set and costumes. Blue and teal dominate the stage, with a large bookshelf and the famous attic acting as a backdrop. Books (as well as writing) are, as expected, central to the production. It's a shame that there is such a blatant difference between the props that are real items and the ones that only decorate the space. It's missteps like this (the exceedingly polyester-y dresses Jo and Meg wear for the ball are another example) that sadly anchor a project built on mediocre material even more.

The March family are, however, perfectly crafted and authentic to Alcott's vision. Meg is elegant and patient, Jo is passionate and hot-tempered, Beth is the sweetest and kindest, and Amy is the baby of the household, artistic and vain. They are loyal to the bone. Sev Keoshgerian is awkward and fumbling as Laurie, more so than in the book, but it works in a humoristic way. Following in this vein, Aunt March is oddly played as the baddie of the situation and the comedic relief in more than one occasion by Bernadine Pritchett.

Musical director Leo Munby reduces the music to a handful of instruments, mainly strings, to fit into the space. This creates a lovely stripped-down vibe but, ultimately, the musical still has the same issues as it did back in 2005 and the team don't manage to turn the material around.

Little Women runs at the Park Theatre until 19 December.

Photo credit: Pamela Raith

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