Writer: Louisa May Alcott
Adaptor: Anne-Marie Casey
Director: Loveday Ingram
Little Women is one of the great classic novels, and it’s little wonder that new versions pop up on a regular 
basis, whether on stage or screen. Here we have the latest version on tour – and a fine version it is, too. Set at the time of the American Civil War, it follows the fortunes of the March family, four daughters whose father is away fighting. They remain at home, living with their mother in genteel poverty, carefully navigating their relationship with men and with their rich Aunt March.
Anne-Marie Casey’s script adapts the feel of Alcott’s original story fairly faithfully, though it omits some sections and subtly changes others, producing something that sits neatly into a theatre context. Nonetheless, it creates a narrative that will be familiar to those who know the book well, while at the same time providing an excellent and easy-to-follow piece of storytelling for anyone who is unfamiliar with the novel. It has an emphasis on the girls and their relationships with each other and those around them, while not overlooking entirely the fact that there is a war going on, and many people won’t survive it unscathed.
Rauri Murchison has created a design that is neither inside nor out, a room surrounded by trees that allows the action to move from the many interior scenes to the occasional outside, with a red drape that helps to create a greater feeling of intimacy when required. It all allows Loveday Ingram’s production to move on apace without the action or the interest flagging. It serves to create a slick piece of theatre, with Mike Robertson’s lighting creating a good sense of atmosphere and helping us to focus on the action.
This version shifts the focus slightly to tell the story predominantly from second daughter Jo’s perspective. It’s a well-judged decision by Casey, allowing the narrative to retain some teeth by focusing on the character who most epitomises the essence of the story. Jo has been traditionally labelled a tomboy, but seen through a modern lens, it feels more as though she is nothing other than a young woman who refuses to conform to 19th-century expectations of marriage and family, in a world dominated by the patriarchy. Grace Molony gives us an excellent portrayal of a strong and determined young woman who has set her heart on being a writer and forging her own way in life. She is determined that her relationship with Laurie (Cillian Lenaghan) should remain firmly as friends and avoid romantic entanglements, then demonstrates a nicely-judged emotional journey into her surprise when romance arrives almost unexpectedly.
Older sister Meg (Jade Kennedy) has a more traditional view of life, happy to wait until she is old enough to marry and start a family, with a portrayal from Kennedy that’s full of warmth while Catherine Chalk’s Beth is quiet and selfless, an oasis of calm among her more outgoing sisters as she follows her own tragic story. Imogen Elliott gives another fine performance as youngest sister Amy, following her own journey from thoughtless spoilt child to a graceful but impetuous young woman.
Music is a key part of this production, with the cast showing some good vocal skills with beautifully harmonised versions of Christmas Carols and other songs popping up regularly. Credit here to Matthew Bugg, who has developed something that adds to the atmosphere and entertainment value. Credit is also due to the accent coach who’s not named in the programme, but who has done a fine job in helping to develop some very believable characters.
It’s a production that shows the story can be as relevant today as it was when first written, with humour and warmth.
Runs until 24 May 2025 and on tour
