Little Women

Thursday 23 October - By Molly Barrow for The Broad Online

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.

Friday 24 October - By Juliette Pepin for The Student

With scents of apple and cinnamon in the air and ceilings adorned with vines and flowers, the always freezing Bedlam Theatre was made warm on the opening night of EUTC’s Little Women. Directed by Lauryn McGuire and Meri Suonenlahti, Marisha Chamberlain’s adaptation of Louisa May Alcott’s beloved classic is deeply heart-warming and thoughtful, placing the sisterly bond at the forefront of their production.

The four March sisters are instantly recognisable as our ‘Little Women’, a testament to how the leads breath a new life into universally cherished characters. The chaos and comfort of sisterhood appear through their natural banter, reflecting a close-knit cast bond. We empathise with every sister in turn — Sophie Davis as Meg subtly shows growing affection for Mr Brooke, while Elsie Frith as Beth channels her quiet selflessness. The play scene—overly-exaggerated theatrically to the audience’s unrestrained laughter—symbolises their innocence and girlhood before being exposed to harsher realities, capturing the glowing bond of sisterhood that Alcott’s novel embodies.

Liv De Pury is Jo March in all her brazen, outspoken bravery. De Pury is skilfully in tune with Jo’s emotions which surface under the bravado of unwavering strength, whether in confessions to Marmee (played with maternal warmth by Roni Kane), or moments of forgiveness when reconciling with Amy. Rachel McLaren, another standout performer, embodies Amy’s childish indignation and superficiality through youthful mannerisms and exaggerated facial expressions. When she burns Jo’s manuscript, inventive lighting design allows warm orange lighting to become piercing as her face is flooded in blazing orange flames. McLaren doesn’t just reduce Amy to an archetypal younger sister though, as we see through tender moments with her sisters.

Dylan Kaeuper is a lively, charismatic Laurie, matching De Pury’s youthful boisterousness. When it comes to the infamous “it’s no use, Jo” scene, he shows no signs of hesitation in laying bare Laurie’s emotions. The two are perfectly in sync, making the roles their own.

The pacing at times feels a bit disjointed—most of the plot is crammed into the second half, with the ending revealed to us suddenly through Jo’s narration and Amy’s story in particular slightly glossed over. This however gives more attention to the sisterhood, rather than their marriages. Scenes with De Pury and Frith particularly are quietly harrowing, representing their enduring sisterly love through grief.

From intricate floral corsets to flowing skirts, the costumes (managed by Millie Franchi) channel the sisters’ personalities through Jo’s masculine dress and Meg’s flowery pink corset. The nostalgic domestic set—managed by Azalea Drace—makes us feel a part of the March family and gives us glimpses into the outside world away from the sanctuary of the March household.

McGuire and Suonenlahti’s adaptation is a love letter to all who hold Alcott’s novel dearly, weaving her celebration of sisterhood throughout and amplifying the voices of the ‘Little Women’ above all.

Saturday 25 October - By Susan Singfield for Bouquets & Brickbats

First, a plea to the good people of Bedlam: for the love of all little women, good wives and little men, PLEASE stop leaving the fire exit door open during your productions. Christopher Columbus! It’s cold enough in this unheated theatre without letting in a blast of late October air! I wasn’t expecting to identify quite so closely with Amy after her fall through the ice, “shivering, dripping and crying” until she’s wrapped in blankets in front of a fire.

But, to quote Louisa May Alcott, “there is always light behind the clouds” and EUTC’s Little Women, directed by Lauryn McGuire and Meri Suonenlahti, is a case in point: a bright, sparky production, perfectly encapsulating the wholesome vivacity of the nineteenth-century New England classic.

Not a lot happens in Little Women – the coming-of-age novel is character rather than plot-driven – so the play’s success relies on the actors’ embodiment of the four sisters. Liv De Pury excels as Alcott’s alter-ego, Jo, the irrepressible second child, who rails against the constraints of her gender and burns with ambition to become a writer. De Pury imbues the popular heroine with sass and drive, creating an engaging protagonist for us to root for. Sophie Davis’s Meg is a softer, sweeter young woman than Jo, but no less likeable, her warmth and kind nature almost palpable. Elsie Frith, as Beth, captures the girl’s gentleness and fragility, while Rachel McLaren shines as Amy, the melodramatic baby of the March family, eliciting much laughter from tonight’s audience.

The set (managed by Azalea Drace) works well, making the most of the small stage. A raised area represents Jo’s garret, with the rest of the performance space given over to the March family’s living room. The trusty green Chesterfield is back (it’s made an appearance in almost every show we’ve see in this venue), its period style especially appropriate for this piece. I also like the fact that the sisters actually play the old upright piano, rather than relying on recorded sound.

The costumes (managed by Millie Franchi) are similarly effective, making clever use of corsets to convert simple modern skirts into clear approximations of 1800s fashion.

The production as a whole works well. Dylan Kaeuper (Laurie) and Theodore Casimir-Lambert (John Brooke) provide excellent support as the love interests, while Roni Kane (Marmee), Hunter King (Father) and Rufus Goodman (Old Mr Laurence) are all impressively convincing as characters much older than themselves. Watching events play out, I feel transported back into the cocoon of my childhood, curled up in bed reading about these faraway adolescents and their travails.

I can’t urge you to buy a ticket because there’s only one performance left and I know that it’s sold out. But I can congratulate EUTC on another delightful production, allowing this good wife to indulge in a little nostalgia and leave the theatre with a great big smile on her face.

4.4 stars