Upstaged Rating: ⭐⭐⭐⭐⭐
Reviewer: Megan Hyland
Adapted for the stage by Anne-Marie Casey, Louisa May Alcott’s Little Women takes to the stage at HOME this Christmas with a sincere and touching performance of the beloved classic. For those unfamiliar with Alcott’s novel, Little Women is a coming-of-age story that centres around the disgruntled March sisters, who find themselves newly poor in the midst of the American Civil War. As they transform from girls to women over the years, their dearly loved mother – affectionately referred to as Marmee – tries to gently steer them in the right direction as they overcome tragedies, heartbreaks, and disappointment in their bids for independence and achieving their dreams.
Rachael McAllister stars as the headstrong and driven Jo March, a writer inherently opposed to the prospect of marriage and even more so opposed to the idea that her sisters may marry instead. McAllister is the absolute embodiment of Jo, the way in which she builds scenes into a frenzy and yet allows Jo to soften in those gentler moments is flawless. As our window into this wonderful world, McAllister carries us with grace and emotion throughout. Watching her build Jo from stubborn teenager to strong and inspiring woman is a joy, and McAllister is a force to be reckoned with.
The same can be said for Julia Brown in the role of naïve and selfish younger sister Amy March, a young girl with an eye for art and a sharp tongue. A character that is often disliked by fans of the story, Brown brings a delightful humour and heart to Amy that softens her edges yet leaves her ambition and self-assuredness intact. Having the difficult task of playing the youngest sister and portraying the transition from childhood to young adulthood, Brown handles this superbly. It is as though we are watching Amy grow in front of our eyes, and Brown is both believable and genuine in her performance.
The most touching performance is delivered by Meg Chaplin in the role of the endlessly empathetic Beth March. As talented on the piano as her character, although Beth doesn’t feature as much in the story as the other sisters, Chaplin more than makes up for this with her moving singing and piano playing. The way that she harmonises with her cast members and accompanies the scenes with her pianist skills is effortless. And her portrayal of Beth is beautiful, delivering the most heartbreaking scene alongside McAllister with sensitivity and soul, bringing tears to the audience’s eyes in the process.
There is truly no weak link amongst this cast. Jessica Brydges dazzles as the materialistic Meg, who is romantic to a fault. The way that Brydges unfurls the romance between Meg and John Brooke (played by Tom Richardson) is a joy to watch, especially the way in which she is able to build this in such a short space of time. Tom Richardson displays some outstanding character acting, first starring as the gentle John Brooke but later as the forthright and eccentric Professor Bhaer. These characters could not feel more separate, and it is a credit to Richardson that they do, he having created such distinct and authentic portrayals of these characters that are the perfect accompaniment to the March sisters. And that is not to mention the outstanding Susan Twist as the formidable Aunt March. Twist is a delight, with a wicked sense of humour and a twinkle in her eye, she has the audience laughing every time, whether it’s a raise of her eyebrow or a quick quip.
At the centre of it all is Kacey Ainsworth as Marmee March, the reluctant matriarch and doting mother to the March girls. Ainsworth is effortless in the way in which she switches from Marmee’s controlled, contrite manner to giving us a glimpse of the thinly veiled thunder that Jo gets from her mother. The way that Ainsworth switches so seamlessly is outstanding.
And of course, who could forget the endearing and captivating Daniel Francis-Swaby as the March sisters’ childhood friend, Laurie. Francis-Swaby relaxes into this role with ease and amusement, and he wins our hearts in doing so. His portrayal of Laurie is equally joyous and sympathetic, bringing a fantastic energy and sincerity that matches McAllister’s fiery portrayal of Jo perfectly.
Anne-Marie Casey’s adaptation is perfection, and alongside director Brigid Lamour, they have created something truly special that honours Alcott’s novel and transforms it into a stunning piece of theatre. To see Alcott’s beloved characters living and breathing in front of us is a treat, and set and costume designer Ruari Murchison is also to thank for this. Murchison’s use of costume to portray the passage of time and maturity tells Alcott’s story beautifully, and the innovative way that his set interacts with Kate Bonney’s lighting design is nothing short of magical. Together, Murchison and Bonney have created a world that is every bit as familiar, warm, and welcoming as Alcott’s novel, and makes for a piece that is as visually stunning as it is touching. Murchison has truly outdone himself with this set, striking the perfect balance between simplicity and intricacy to create a set that is as vast as it is cosy. Drawing upon Alcott’s winter scenes, Murchison has brought the Christmas feel out of the piece and into the forefront ready for December.
Whether you are familiar with Alcott’s novel, the various film adaptations of the same name, or entirely new to the world of the March sisters, this adaptation of Little Women is bound to strike a chord. A beautiful adaptation for which the casting could not have been more perfect, this is a piece that will stay with you long after the lights come back up. For a story that at its heart is so simple and everyday in nature, this adaptation proves that Alcott’s work continues to stand the test of time and touch audiences even now, over 150 years on.
-Megan Hyland
Little Women runs at HOME Manchester until Saturday 23 December 2023.