Little Women

Reviewed by Holly Bartges

By popular demand, Little Women: The Musical returns to Littleton’s Town Hall Arts Center through January 1, 2006.

When the musical first hit the boards in 1998, it won the Denver Drama Critics Circle award for Best New Play. Based on Louisa May Alcott’s well-loved novel, this version was originally conceived, developed and directed by Sharlene Wanger with libretto by Bil Rodgers, who up until recently served as Town Hall’s Executive Director. Steve Stevens wrote the music. For the most part, when it opened in 1998, the only cautionary comment that could be made for this exciting new musical was it was just too long.

Just under three hours, this production directed by Wanger and choreographed by Michael Gorman, is still too long. During intermission and walking downstairs the hot topic of conversation was simply the show was too long. When the house lights came up, the gentleman sitting next to me got up to leave, then turned back. He said, “Tell them it’s a good show, but just too long.” That’s an almost quote as he included a couple of descriptive adjectives.

Following the growing up years of Jo, Meg, Beth, and Amy March during the horrific Civil War years, Little Women delves into who they were, who they wanted to become, what was vital to them as children, and what became vital to them as adults. Their hopes, dreams, and wantings survived sibling rivalry, petty jealousy, and intense family devotion. There’s Jo, the tomboy writer who takes great delight in sticking her tongue out at social graces, the prim and proper Meg who strives to be peacemaker regaining an elegant atmosphere. There’s shy, demur Beth who finds a graceful connection to music and the piano. Then there’s the youngest, Amy, with her strong rebellious teasing temperament.

On a set designed by Stuart Barr reflecting tasteful, warmth of a comfortable home in the 1860s, the show opens with Jo (Rebecca Gibel) rummaging through the attic where once upon a time she wrote her stories, looking for something she can’t quite identify. It is 1880, Jo happily married, finds enchantment and warmth as she remembers growing up in the house with her family, giving rise to singing “Pieces of Our Lives.” Her vivid imagination comes to life on stage as the cast takes their places, playing out Jo’s memory.

Mary June Anderson designed beautiful appropriate costumes for each of the cast members. Make-up and wigs were exquisite. Old people looked like old people. Middle-aged people looked middle aged. Spanning several years, the turbulent four girls grew up in appearance before the eyes of the audience in looks and action. One of the most outstanding is B. J. Gerhard as Aunt March, the feisty domineering controlling factor who insists the girls marry for money and wealth as she lays it on the line with Jo in her song “Don’t Follow Your Heart.”

However, throughout this production the gorgeous costumes and lyrical songs appear to stand in the way between the actors and characters.

There are scenes that are extremely sharp, but there are also scenes where it appears the actors rely on how they look and how they sound without delving into the heart and soul of the characters. Characterizations appear to be more caricatures, pointing toward but not quite embracing the essence of the characteristics. Late in Act II, Gerhard seems to forget she is an elderly woman moving with the ease of someone much younger.

With a good size cast, some of the crowd scenes promote some actors revealing they aren’t certain where and when they should be.

Consistent all the way through is Vicki Pierce as Hannah, the March’s maid. Pierce disappears behind the Hannah personality, which is endearing, as she is gracious. DaNia Mortimer plays Meg with affable honesty. Conscious over social awareness, she is particularly effective in getting ready to go to the Ball, horrified that Jo insists on wearing the dress scorched in the back from standing to close to the fireplace. Jo, of course, could care less. She’s out for a good time. Malorie Stroud clearly gives Amy the 12-year-old smarts from the beginning. Of course she wants to do what her older sisters get to do. Doesn’t every 12-year-old? And, of course she can’t, and, of course, she retaliates. Stroud plays her with much fun and energy. Leslie Hoxworth sometimes confuses reticence as an actor over against a believable shy, hesitant young girl. Sometimes Beth stands out. Sometimes it is the actor standing in the way. One of Hoxworth’s strongest scenes happens when Beth knows she has scarlet fever after the neighbor’s baby died in her arms.

In musicals there is the tendency for actors to hide behind the costumes and great songs without pouring energy into character development. That seems to be the case with this production in some scenes.

The ice skating scene is extremely well done with the full chorus. Jo aggravated with Amy, the race between Laurie (Andrew Caldwell) and Jo, and Amy’s reckless attempt to keep up build to a thrilling crescendo.

Beth reminds Mr. Lawrence (Mike Moore) of his granddaughter who died. Moore paints the picture of someone deeply moved, but he doesn’t always display the feeling.

Caldwell has a stunning voice, but shows Laurie in a manner that doesn’t seem quite up to snuff for the strong Jo. We see Caldwell more often then we see Laurie.

Alma Martineau as John, Laurie’s tutor, provides warmth, determination, and character.There are scenes that could easily be cut, where the show seems to stand still. One is the wedding scene between Meg and John. It is well done and beautiful to observe, but could easily be trimmed by a few notes and steps.

Following the death of Beth, Mr. Lawrence’s song “Lions at the Gates” could be cut from the show. His gentle feelings for her have already been established, and that moment keeps the show standing still.

With Jo’s trek into New York to strike out on her own and to flee Laurie’s puppy love, the boarding house table scene is well contrived and choreographed, but could also be trimmed around the edges.

Ken Paul endows Professor Bhaer with depth and substance to believably and eventually attracting the independent stubborn Jo with stance, mannerisms and strong voice.

Early in the show, at Christmas, the scene between Poppy (Jeff Betsch) writing from the muddy trenches of the Civil War and Marnee (Nancy E. Harris) reading his letter to the girls is very well done holding together a strong poignant moment for today’s reality. Little Women is a story of the four girls. Betsch and Harris invest strong backbone for the growing up antics. They are consistent throughout.

Don’t get me wrong. Little Women is a well-developed thought out production and well worth the experience. Just plan on three hours plus to avoid time anxiety. It could easily move from a good production to spectacular with energy concentration for the characters, along with several nips and tucks on songs, danced and scenes. Some cuts could spark energy to be funneled where it is needed most spreading consistency throughout the entire show. The high-powered energy that emerged from the original production is missing. Perhaps it was simply a Sunday afternoon let down, but Sunday afternoons are as important as any other show.