‘Little Women’ is an autumnal and wintry must-see that will both break and warm your heart. The play, based on the classic novel by Louisa May Alcott, follows the four March sisters, Jo, Meg, Beth and Amy as they mature into adulthood and face the tribulations of war, loss, and love. The Snow-Globe Theatre Company excels in this production in inciting a vast array of emotions from joy to despair; not only is this a wholesome seasonal watch, but it also gets you thinking about gender, class, family, love and sisterhood.
Director Ellie Cumbley and Assistant Director Sanika Samel wonderfully contrast quiet and loud moments, balancing intense drama with soft and subtle moments. They manage to create seamless transitions between heated moods and the wholesome, especially through the use of volume, proxemics, staging and effective use of pauses to increase and ease the tension. Despite it taking place in one room, the audience feels as if they’ve been on a whole journey by the end. A stand-out example of this is in the argument between Jo and Amy, having me uncomfortably on the edge of my seat, and aghast at Amy’s calm collection of herself and transition into malicious revenge, I found that I was invested in their relationship as sisters, and couldn’t stand (in a great way) the conflict. My favourite moment of all has to have been the ending, which culminates in a gorgeous tableau of all characters dancing and singing, leaving me disappointed only that it was over, yet overjoyed with festivity. Safe to say that ‘Little Women’ leaves you ready for the Christmas season!
Moreover, Joanna Bergmann as Set Designer and Joslyn Lo as Assistant Set Designer create the perfect cosy setting for the play. I particularly appreciated the subtle details of set dressing they use, such as the bookshelf, the beautiful fireplace and seasonal decorations. The inclusion of the window and doors also adds an additional element of depth to the stage which is visually very engaging. Another highlight for me is the placement of the piano off-stage, crossing the boundary between audience and stage, practically breaking the fourth wall and inviting the audience into the March’s front room. Similarly, Costume Designer Constance Donald and Assistant Costume Designer Noelle Nunes enhance the play with carefully thought-out costumes. Despite the limitations of being a college-based, student company, they do an excellent job at curating historically accurate costumes which are unique to each character, down to details like shoes and hairstyles. An iconic piece of costume for me is Aunt March’s voluminous skirt, which stands out from a mile away and hilariously compliments her character.
The work of the production team (producer Heidi Maxwell, co-production managers Isabella Broxis, Josh Greenwood, Soumayah Belaggoune and assistant production managers Bianca Barbour and Priya Saud) must also be commended, as they produced a wonderful and seamless show, executing the vision of the directors and designers admirably. They set the mood immediately with on-theme house music and an announcement spoken by Amy, not to mention Maxwell’s stunning publicity photos and poster, having the audience fully in the mood for some wholesome theatre. The subtle changes in lighting, executed by Alex McCalmont, were particularly effective, such as the dimming of lights in darker scenes and the bright, warm lights on Christmas morning. The only instance of lighting which felt slightly out of place in the production was the use of red during the big argument in act 1, however, I can see why this was done and how it arguably made the scene even more of a stand-out moment as a pivotal point in both the plot and in Amy’s character development. Sound was also used effectively, nicely added to demonstrate the passing of time and life outside of the house, but I especially appreciated the authenticity of Beth’s piano playing (by Eloise Robinson).
On that note, the work of the actors themselves has to be appreciated! Whilst there are occasional stumbles on lines, slight issues of projection and some instances of questionable American accents, on the whole every single actor brings talent and individuality to their characters. Clara Springman stands out as Jo, capturing her ‘tomboyish’ nature perfectly in her physicality and vocality. The drama she brought to the play was a highlight for me, her acting scene in particular being a hilarious and unforgettable moment. Bea Pescott portrays such a sweet and endearing Meg, constantly warming up the stage with her calm and delightful character. The casting of Amy and Beth (played by Emily Riddleston and Eloise Robinson) is excellent, making for a bubbly, girly and charming duo in the first half, yet both establishing their individuality and maturation throughout the play. The versatility of Riddleston’s acting is incredible, showing every feeling, whether it be sweetness, cheekiness, malice, regret, anger or sorrow, and Robinson’s portrayal of Beth’s struggles toward the end of the play is simply beautiful. The on-stage chemistry of all the sisters is convincing, down to the dynamic between the older and younger sisters which is spot-on, they all bring to the play different characterisations of girlhood, yet come together in heart-warming moments of sisterhood or contagious fits of laughter, enhanced even more by their lovely, composed Marmee, played by Francesca Hallett. Jack Guilloyle is a unique Laurie Lawrence, bringing an unexpected interpretation of the character which I found I loved. His goofy nervousness, brought out by his physicality and memorable facial expressions couldn’t help but bring a smile to my face. Albert Malone’s Mr Brooke is another unforgettable character, and his awkward yet real chemistry with Meg is adorable and joyful. Others that stand out are Molly Cowell’s impactful stage presence as Hannah, Arthur Hamilton’s hilarious Mr March and Callum Ryan’s great comical yet commanding Mr Lawrence.
Thus, ‘Little Women’ is a lovely seasonal watch, very well produced and excellently performed. The play takes you on an emotional rollercoaster, but you leave it feeling utterly uplifted.
Image by Emily Sanderson