Little Women
The Attic Theatre
Playing until 28 September
Louisa May Alcott’s semi-autobiographical 1868-9 novel seems to have stood the test of time by maintaining its popularity. The story of the coming of age of the four March sisters means that there is a great deal of plot and to adapt it to a play of just over two ours playing time is no mean feat. Remarkably Catherine Prout’s adaptation keeps a great deal of the plot although some comes through references and narration rather than action. There is a huge number of very short scenes but Alexandra Whitworth’s production maintains continuity and a fast pace and those that don’t keep the audience’s interest by means of Kat Murray’s excellent soundtrack. The songs help too and the singing of this cast of eight is excellent, often very touching.
Several actors play many parts but Prout and Whitworth enhance the novel by making us aware of the links and similarities between the characters they play. For instance, Andy Woolley’s adult men make us grasp the author’s view of the oppressive nature of men and we are encouraged to weigh both the selfishness and support of the girls’ father. Partly because of the absence of why about many of his actions he becomes an interesting and enigmatic figure. In a similar way Ben Powell’s three characters, all beautifully played, invite us to make links between them. Cassandra Wilson plays Marmee, the mother, and also her contrastingly opposite sister.
This cast is very strong. All four sisters are fully differentiated. Rosie Coles presents Jo as a fascinating and complicated character. Just when we think we have figured her out she surprises us. Abigail Drennan as Meg is a radiant sixteen year old who finds her independence. Emily Tietz’s Amy is a wonderful child whose growth and maturation are splendidly portrayed. Jasmine Arden-Brown has the rather thankless task of playing Beth who dies early presumably from consumption but touches us with her love of music and her inability to summon up strength towards the end.
This leaves us with George Ormerod whose Laurie who slowly matures, relaxes and develops throughout the play, as shown by his gradual relaxation and growth in sensitivity. The gradual changes to his hair are very cleverly done.
All in all it’s a powerful piece, very well played. Like the novel, it’s a bit too sentimental, predictable and optimistic for my taste, but this does not detract from a fine piece of work. The pace, the presentation of strong characters, John Partridge’s beautifully chosen costumes, strong purposeful direction and excellent use of space make for a most enjoyable evening.