Little Women – Park Theatre

(L to R) Hana Ichijo, Anastasia Martin and Mary Moore in Little Women at the Park Theatre, London. Picture: Pamela Raith

Little Women continues at the Park Theatre, London until 19 December 2021.

Star rating: two stars ★ ★ ✩ ✩ ✩

When I was a child, I loved Louisa May Alcott’s 1868 novel Little Women. I grew up, avidly watching various TV and film adaptations, culminating in my favourite interpretation of all: the critically-acclaimed 2019 film, directed by Greta Gerwig, where Saoirse Ronan made the role of Jo her own.

So, it is safe to say, I went into this as a true fan of Little Women and was really looking forward to seeing how the book fared as a musical.

Adapted by Allan Knee, with lyrics by Mindi Dickstein and music by Jason Howland, the musical opened on Broadway in 2005 and premiered in the UK in 2017 at the Hope Mill Theatre, Manchester.

Walking into the auditorium, the set, lovingly created set by Nik Corral, beautifully echoes the wholesome and bookish charm of the March girls, giving the audience high hopes for the evening’s entertainment.

In this adaptation, Jo (Lydia White) is the spirited and fierce narrator and protagonist of the story, moving the narrative along at a good pace and bearing much of the focus of the show vocally and dramatically. Throughout the show, the set is cleverly utilised to provide an effective backdrop to the key plotlines, driving this tale of these four very different sisters as they grow up to be Little Women.

Meg (Hana Ichijo) has a gentle assurance and is entirely believable as the more traditional sibling who wants marriage and children. Her duets with the excellent Lejaun Sheppard as John Brooke are lovely to watch and listen to.

Amy (Mary Moore) is played with humour as she evolves from being the spoilt monster who has a difficult relationship with her sister Jo, to a young woman of elegance and social aplomb, courtesy of sharp Aunt March.

Perhaps my favourite character in this production is Beth, played with a quiet charm by Anastasia Martin. Her duets as she wins over the initially crabby Mr Lawrence (Brian Protheroe) are the most affecting scenes in this show. They play at the piano, performing the most memorable and enjoyable song: ‘Off to Massachusetts’.

Marmee (Savannah Stevenson) gently guides her girls through life and exudes calm. When she is singing, we instantly feel secure and safe.

The two male leads: Laurie (Sev Keoshgerian) and Professor Bhaer (Ryan Bennett) seem to pale against the strength of the female ensemble, which might have been a directorial decision from Bronagh Lagan as this really is the women’s story. Similarly, their voices are not as strong as I would have wished.

Aunt March (Bernadine Pritchett) proves to be a fierce foil to Jo and Amy, with a very different relationship to both.

Nestled in the eaves is the excellent band led by musical director Leo Munby on keyboards and a quartet of strings which does great justice to the gorgeous musical arrangements by Andy Collyer and fills the theatre with a rich sound.

So why only two stars? I found the score to be too instantly forgettable and the lyrics somewhat pedestrian. I had hoped for more than… “I may be small, but I have giant plans”. The vocals are not always powerful enough to match the musical requirements and sometimes the lyrics just let the performers down too.

Apart from Beth/Mr Lawrence and Meg/John Brooke, the chemistry is sadly lacking, and I was never fully invested in the characters emotionally – although I yearned to be. Given how strong the original book is – this adaptation in disappointingly unable to deliver the passion, spirit and warmth of the source material.

It should be noted that many people present on opening night that did not agree with me as there was much applause and cheering to be heard as the cast took their bows.

I do think there is an audience for a show like this. As a first introduction to musicals and also to the book – it may well work as an educational vehicle and entry point. I saw that the Park Theatre is offering Family Tickets which seems perfect marketing for the show.

I always want to support and encourage new musical theatre writing, but this seems to deliver less than the sum of its parts. While there is much to admire, there is still not enough to recommend it highly.

Louisa, herself, wrote in the book over 130 years ago: “Be worthy love, and love will come.” So – Little Women may not be for me – but it is worthy and perhaps the love will come…

Tina Foote