Little Women - the musical

‘Little Women – the musical’ was adapted by Allan Knee from Louisa May Alcott's 1869 semi-autobiographical novel. Allan is a cinema scriptwriter, probably best known for the 2004 film of Peter Pan, ‘Finding Neverland’. Jason Howland, well known for his major musical ‘Jekyll and Hyde’; composed the musical score. Mindi Dickstein added the lyrics, when she was still in her thirties. The first production ran on Broadway for 192 previews and performances. It premiered in Australia in 2008.

This 2 hours and 50 minute presentation is at the Roleystone Theatre, Brookton Highway, Roleystone. The evening performances are at 8.00 pm. There is an extra matinee on Saturday the 3^rd December at 2.00 pm. The season ends on Saturday 10^th December.

     It is1866 at Mrs. Kirk's (Bree Hartley) New York Boarding House, and aspiring writer, Jo March (Kimberley Diane Harris), has just received her twenty-second publisher’s rejection letter for her gruesome, operatic tragedy. A fellow boarder, the shy Professor Bhaer (Alan O’Neill), advises Jo to write more pleasant, sophisticated stories.

     Back in Jo’s family home in Concord Massachusetts, we see Jo gathering her sisters for a performance of her latest tragedy in her attic sanctuary. Just as the tender Meg (Emma Davis), kind-hearted Beth (Cassie Skinner) and annoyingly pretentious Amy (Liza-Mari Schwindt) all beg Jo to forget about such a horrendous play, the caring matriarch of the family, Marmee (Lindsay McNab), receives a letter from her husband. Mr. March is an army chaplain in the American Civil War. She misses his help and support in the home.

     A fearsome wealthy aunt (Bree Hartley) offers to take Jo to meet ‘the Society’ of Europe, but first she must change her boisterous and romping manner and become a lady.

     Thrilled, Meg announces that she and Jo have been invited to Annie Moffat's Valentine's Day Ball. Last minute nerves have Meg on the verge of calling off her acceptance. Amy, who really wants to go, puts on Jo's old gown but Jo points out that she is not invited. This results in Amy playing a despicable trick. Jo is now convinced that pompous Amy is a demon in a child's body.

     At the ball, Jo trips over the grandson of a neighbour, young Laurie (Owen Measday) who is seated feigning being tired.

     Laurie's haughty tutor, Mr. Brooke (Tom Hutton), reprimands Laurie for not mingling. Mr. Brooke asks Meg to dance and she is immediately besotted. Laurie fights his shyness and repeatedly asks Jo to dance, but she is embarrassed because of a patch on her dress.

      Beth is playing the piano when Lawrence’s strict granddad (Kim Martin) arrives in search of Laurie. He loves Beth’s playing, and as they sing together Amy returns from skating, carried by Laurie. She has fallen through the ice. Jo makes Laurie an honorary member of the March family.

      Who will get married and to who? 

The 20 songs had excellent lyrics, but I found most of the musical score somewhat discordant, even dirge-like and totally unmemorable. The cast sang beautifully and the accompaniment was well up to the high standard usually seen at Roleystone. By having the orchestra on the mezzanine level above the stage, ensures that by the time that the music reaches the audience it is well melded and any instrument peaks have disappeared. Music supervisor Tim How and musical director / conductor Belinda Flindell made the most of the disappointing score.

The orchestra players were: - violins – Stephanie-Jane Lewendon-Lowe and Hannah Brockway; viola – Cristina Filgueria; cello - Mike Black; Oboe – Krispin Maesalu; Flute – Jemma Armstrong; Clarinet – Ashley Swetman; Trombone – Warren Bracken; Trumpet – Jacob Latter and keyboard – Tsun-En Cheng.

Many of the singers were students of music or professionally trained, and their projection, power and clarity were exceptional. Kimberley Diane Harris was on stage for almost the whole 160-minutes and yet, even at the end, she still appeared fresh and full of drive. Her voice was crystal clear, her movement and characterisation brilliant.

A minor point, I was surprised to see one of the main singers repeatedly glancing or staring directly at the members of the audience.

This was a massive enterprise but director Paul Treasure and his assistant directors Peter Pear Carr and Tim How have produced a quality show that was very much appreciated by the full house. The costumes (Priscilla Cornelius) were numerous and perfectly selected, from the beautiful evening gowns to the fun costumes of the play within a play. With the director using the front and back of the stage as two different locations, and even in front of the stage apron on many occasions, the lighting was bound to be tricky, but well carried out by Stephen Carr and Ben Davis.

The set for the attic with its grimy damp exposed lath work and crumbling plaster, worked well in contrast to the opulent setting of the parlour. Congratulations to all of the set workers, the result was dazzling. There was a clever effect when Beth was flying a kite; it definitely gave the impression of a windy day.

A very professional action-filled musical, with characters that were clearly defined and endearing. Another Roleystone success.