Little Women – Liverpool Playhouse

Adapter: Anne-Marie Casey

Director: Loveday Ingram

It’s 19th-century New England at the Liverpool Playhouse, and the stage is adorned in soft snowfall, a charming Christmas tree and a glowing fireplace. The four Little Women take centre stage in this adaptation, lovingly crafted by Anne-Marie Casey, with each sister defined by her own distinct personality.

Jo, Amy, Margaret and Beth March each struggle with their coming of age in a world where the American Civil War has just begun. They face the tribulations of love and money in a society that deems women must marry, no matter the cost.

The March home is warm, quaint and even a little raggedy; yet it is the sisters who breathe life into the bare trees that surround it. Jo (Natalie Dunne) is a wilful, spirited writer, longing for independence and desperate to sell her stories to the world. With a temper that sparks throughout the production, Dunne’s portrayal of Jo is nothing short of accurate, her playful humour and boundless energy keeping perfect pace.

It is Beth (Megan Richards) who holds the audience in the quieter moments, her soft candour and gentle heart making those scenes faithful to the novel — tender and benign. Richards delivers a delicately emotional performance, her calm presence a soothing counterpart to Jo’s blazing fire, the two together a beautiful representation of sisterhood.

Belinda Lang is the perfect Aunt March, her shrill tone and dry wit bringing sharp comedy to the stage. Juliet Aubrey makes for a strong-hearted Marmee, her warmth anchoring the chaos around her, though her accent at times felt slightly misplaced beside the rest of the cast.

The relationship between Jo and Laurie (Perry Williams) makes the heat sizzle, their friendship brimming with a restless energy that leaves the audience longing for them to step forward into romance. Williams brings an effortless charm to Laurie, and while at times his delivery lacks polish, he captures both the character’s boyish affection and quiet heartbreak when that love remains unreturned.

Jewelle Hutchinson brings a delightfully snobbish air to Amy, balancing her vanity with a charm that makes her impossible not to like. In the second act, it is her eventual maturity that embellishes Amy with poise and flair. Meanwhile, Tom Richardson brings sincerity to both Brooke and Bhaer, grounding the story’s romantic arcs with warmth and restraint.

Under Loveday Ingram’s direction, the production moves with a comforting rhythm, both intimate and nostalgic, with moments of laughter balanced by splinters of heartbreak among the family. The set design, delicate and dreamlike, beautifully mirrors the March sisters’ world: hopeful and ever-changing.

While the pacing occasionally falters in the second act, Little Women remains a heartfelt retelling of Alcott’s classic. It captures the enduring magic of sisterhood, ambition and love, with just enough modern resonance to make it feel new again. A few uneven moments in tone and delivery keep it from soaring higher, but its heart never wavers.

A tender, nostalgic evening that celebrates the courage to dream beyond expectation.

Runs until 8 November 2025