There are few shows that can introduce our children to the magic of live theater like Louisa May Alcott’s Little Women. Few shows, moreover, that can open up our vision of the great American family, of belonging, in days when that belonging appears to be in question. Constance Swain, who has raised the rafters of Blackfriars Playhouse with her past performances, has taken the director’s reins this time and made Alcott’s classic a story for all of us.
Led by Summer England’s charismatic turn as Jo March, the precocious author-to-be, Swain’s cast brings the March sisters to vivid life — multi-hued and devoted to each other through thick and thin, in sickness and in health, in loss and triumph. Whatever differences we may think we have as we enter the theater, we leave with our hearts that much bigger and more open.
As adapted by Erin Riley, the traditional narrative is thrown open and turned into an intensely personal journey. Jo March addresses us directly and introduces us to her loving family, and we follow the sisters’ fortunes and Jo’s slow maturation as a writer through her eyes.
If you’ve grown up in a multi-sibling family, much of what transpires will seem remarkably familiar. Each of the actresses here creates an instantly recognizable family member, with traits to match. Raven Lorraine, as Meg, anchors the March girls as the eldest, taking charge of the spartan decorations for the fatherless, penniless family Christmas that opens the story. (Elder siblings, male and female alike, can relate to Meg’s need to project propriety and responsibility even as her sisters fly off hither and yon.)
Charlene Hong White’s turn as Beth, the introverted musician, has a quiet power to it, as we see her gifts recognized and rewarded. And Larisa West, who performed as the understudy for Amy March when I was there, throws herself into the role of the youngest sister — whose passions, aspirations, and sense of style seem to outstrip the household’s means at every turn.
The grown-ups, a necessity, I suppose, generally acquit themselves as grown-ups ought to; Angela Iannone gives us the mother of the brood, Marmee, as principled and empathetic as we wish all mothers to be. But just in case we get too starry-eyed about Marmee’s virtues, Iannone also has wicked fun as the infernally cranky Aunt March (Mr. March’s aunt) constantly finding fault with Jo and driving the other March sisters to distraction. Meanwhile, Christopher Seiler does double duty as the long-absent father, Mr. March, when not showing his softer side as the lonely but engaging Mr. Laurence.
The story isn’t all fun and games, of course; tragedy strikes the March family, and here is where Swain inserts a beautiful remembrance of a beloved sister; one of Jo’s biggest struggles is to find her own authentic voice as a writer, and the scene where she begins to find it is one that will remain with you long after curtain.
This being Alcott, and this being a story that of course must have a love interest or three, our eyes must also turn to the young men who grace the March household with their presence. Joe Mucciolo returns to the Blackfriars stage as the cloistered, easily-smitten “Laurie” Laurence, whose friendship with Jo has its share of ups and downs. He and Summer have some hilarious moments, and of course their relationship is nothing if not full of surprises. As Laurie’s tutor, Mr. John Brooke, Blake Henri does a fine job, fumbling and a bit awkward around the ladies at first, but finding his footing as big sister Meg comes into his sights. Last but not least, Rasell Holt’s turn as the learned, German-born Professor Friedrich Bhaer has its share of charming moments; his name, pronounced as you might expect, brings with it some comical stage business, which is great fun to watch.
The balcony, which comes in for some nice uses here, is hung with bunting of a special kind — the pages of Alcott’s novel. And Amy Monsalve’s costume and hair stylings are evocative of the 1860s when most of the action takes place. The musical selections, too, set the tone for these sisters’ stories, from Raven Lorraine’s rendition of Beyoncé’s “Daddy Lessons” and Summer’s pensive take on Natasha Bedingfield’s “Unwritten” to Christopher Seiler’s turn on the mandolin with Billy Joel’s “Vienna.” It always pays to get to your seat early because the musical talents of the company are full of surprises.
America has always been a rainbow, albeit sometimes fractured; and sometimes our dysfunction is all too much on display. But sitting with each other for a couple of hours, and reconnecting with family, can be such a wonderful thing, and this production of Little Women could be just the thing to unite us in these difficult times.
Running Time: Two hours and 30 minutes, including one intermission.
Little Women plays through April 19, 2025, in repertory with King Lear (through April 19) and The Comedy of Errors (March 20 to April 20), presented by American Shakespeare Center at the Blackfriars Playhouse, 10 South Market Street, Staunton, VA. For tickets (starting at $36), call the box office at (540) 851-3400 or purchase them online. ASC also offers a Local Rush deal of 50% off tickets on Wednesdays and Thursdays. Learn more here.
Cast and artistic team credits for Little Women are online here (scroll down).
Age requirement: 7 and up.
Little Women by Louisa May Alcott
Adapted by Erin Riley
