Review: EUTC's Little Women

EUTC, Little Women

Rating: ★★★★★

Since the world was first introduced to the March sisters in 1868, plenty have tried to recapture the unbridled and contagious spirit of Louisa May Alcott’s Little Women in print, on stage, and on screen. Its most recent iteration, Greta Gerwig’s critically acclaimed 2019 film, is the seventh cinematic adaption of the coming-of-age novel.  It seems almost obligatory for Hollywood’s leading female stars to have played Jo, the headstrong second-eldest, at some point in their careers: Katharine Hepburn, Winona Ryder, and Saoirse Ronan have all delivered fantastic renditions of Alcott’s protagonist. Little Women, arguably, has entered the realm of the immortal. It is very hard - nearly impossible - to think of any novel as universally loved as it is. Over 150 years since its original publication, people continue to boldly claim identification with a specific sister (I’m a Jo, if anyone cares to know) and passionately dispute whether Amy should have ended up with Laurie. Indeed, Alcott’s portrayal of unbreakable sororal bonds in the face of grief, poverty, and dislocation has united generations of women, who glimpse their girlhoods mirrored in her writing. Its appeal also lies in its simplicity: Marmee’s home is safe and welcoming, a hearty fire is always lit, and your socks are darned as you sleep; your sister’s whispers dance around the edges of the room and out of the window, into a starry Massachusetts’ night sky. Once upon a time, Alcott created a timeless classic that many of us reach for the moment leaves begin to fall. How then, does the EUTC’s Little Women live up to her legacy?

On its opening night, the EUTC transformed the gothic Bedlam Theatre into a cosy haven from the wintery chill outside. Greeted with the orchestral film score of Alexander Desplat and the scent of apple cider pumped through the foyer, the audience eagerly awaited the performance, adapted by Marisha Chamberlain, to begin. And the cast and crew undoubtedly delivered. Condensing Alcott’s lengthy narrative into two parts, the EUTC’s Little Women was exquisitely and expertly done. Set entirely within Marmee’s living room, with Jo’s garret hideout in the corner, we are welcomed into the buzz of the March family home. The interface between actors and audience is reduced further by the quilted canopy hanging above the audience’s heads, reminiscent of a child’s makeshift den, as if we are also participating in the girl’s imaginative games and storytelling. Along with a hotchpotch of eclectic and shabby furniture, Morgan Hazelip and Azalea Drace created the idyllic, girlish environment with undeniable charm. The whimsical ambience was only enhanced by apt autumnal lighting choices.

Liv De Pury’s excellent portrayal of Jo March is, however, the highlight of the show. De Pury is one of the most compelling actresses I have ever had the pleasure of watching: she is clear, charismatic, and commands the room. She embodies Jo, as she matures from a swashbuckling, ambitious girl into a burdened, grieving young woman, with grace and precision. I particularly enjoyed how this adaptation focussed on Jo’s internal struggle to reconcile her aspirations as a writer with her loyalty to her sisters and parents during a time of economic difficulty. Indeed, De Pury is the crux of this play and should be incredibly proud of the performance she so masterfully delivered. Her chemistry with Dylan Kaeuper’s Laurie is also teasingly brilliant. The actors bounce off one another in the first act, two adolescents trying their hardest not to grow up, but, by the second act, are forced to confront the feelings Laurie develops for Jo as the world around them is irrevocably altered. Kaeuper deserves a special mention for his performance: he possesses an infectious energy and offers a heartwarming portrayal of the hopeless romantic Laurie as he childishly attempts to matchmake Meg and John and later vulnerably confesses his ardent love. Delivering the line “It’s no use Jo”, potentially the most gut-wrenching and culturally-resonant four words of Little Women, certainly comes with a lot of pressure. But Kaeuper doesn’t shy away from the task, delivering the greatest monologue of the whole night and making this equally-as-hopeless reviewer well up.

The chemistry between the four March sisters is also truly incredible. Meg is played by Sophie Davis with delicacy and remarkable naturalness, while Elsie Frith’s Beth is quietly and tragically charming. Rachel McLaren’s Amy is near perfection. Little Women enthusiasts have become fairly used to seeing older versions of Amy presented on screen, most notably Florence Pugh. It was therefore delightful to see McLaren interpret Amy, who remains a child throughout, with nuance rarely attributed to the spoiled, stroppy preteen elsewhere. Indeed, while McLaren often offers comedic relief, she also gazes longingly at floppy-haired Laurie and glares enviously at Jo. The scene in which Amy burns Jo’s manuscript is arguably one of the best, as the firelight glows almost demonically across McLaren’s enraged face. The sisters, importantly, are supported by a larger ensemble of talented actors, including Roni Kane’s nurturing Marmee and Rufus Goodman’s gentle Mr Laurence.

Of course, these excellent casting and stylistic choices must be attributed to co-directors Lauryn McGuire and Meri Suonenlahti also. The pair created something truly special in Bedlam, a production that felt fresh and new, no easy feat considering Little Women’s colossal significance. Millie Franchi’s wonderful costuming choices are also integral to this success. She pays attention to the unique spirits of each March sister (Jo is of course wearing a man’s shirt), acknowledging some historical accuracy while updating most features with a touch of edge, patchwork, and girly glamour. 

Overall, this was a magisterial example of adapting a classic with ingenuity. Cast and crew honoured the most-loved features of Alcott’s novel but also brought new life to these well-established characters. With heartfelt performances and considerately-crafted nostalgia, Little Women was a warm and tender production I cannot recommend enough.