REVIEW: Ambition and belonging in Actors’ Shakespeare Project’s ‘Little Women’
“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”
From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.
Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.
This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’s Emma and Shakespeare’s vibrant Romeo and Juliet.
Louisa May Alcott’s Little Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.
While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.
Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.
Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.
Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.
One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.
Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.
Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.
