The Original American Girls

Little Women, the Musical – Brown Paper Box Co.

This musical is exactly what we need today. Although the show originally opened on Broadway back in 2005, it speaks strongly to what America wants to hear right now. It portrays a loving, tight-knit, resilient family trying, against all odds, to survive during the Civil War. They must endure poor economic conditions, illness, romantic complications and a myriad of trials and tribulations we still face today. The play may be set in the mid-nineteenth century, but it’s a universal story about a community of people who care for each other, and it carries a message that still rings true today.

The musical sports a book by Allan Knee, and features a lovely score by Jason Howland with poetic lyrics by Mindi Dickstein. While the script tends to gloss over the details of Louisa May Alcott’s iconic novel, the play still focuses on the close connection between the four March sisters and their stalwart mother, Marmee. Published in 1868, Louisa May Alcott’s semi-autobiographical coming of age novel is celebrating its 150th anniversary since publication and remains among the top 100 children’s novels ever written. 

Narrated by the second eldest March daughter, Jo is a headstrong tomboy who dearly loves her family. She also carries a deep, burning desire to become a published author. Older sister Meg is “the pretty one” and, at just 16, is often the maternal substitute for her three younger siblings in her mother’s absence. Marmee, the girls’ affectionate nickname for their mother, spends much of her day helping others less fortunate in Concord, Massachusetts, doing volunteer work for needy families in the community. Beth, the third daughter is frail, sweetly shy and devoted to her music. Amy, the youngest, is prissy, extremely opinionated, a bit spoiled and often butts heads with Jo. Together this close-knit family makes the most of their home, earning what they can by doing odd jobs to help make ends meet, while Mr. March is away serving as Union chaplain during the Civil War. 

Like Miss Alcott’s novel, the musical is an episodic study of its characters. The production flows smoothly from one adventure to the next, thanks to the fine, sensitive direction provided by M. William Panek and Stephanie Rohr. Because this is a musical treatment of the novel, the tale is spun, often with more songs than dialogue. The March family’s journey opens in 1865, with Jo setting the events in motion that will foreshadow the scenes to follow. Then the musical flashes back two years, ultimately journeying through to the end of the Civil War in 1866. Jeremy Hollis’ scenic design is alley-style, with the audience comfortably seated on each side of the linear stage. The boundaries of the acting space is comprised of rough-hewn shiplap, providing a doorway at each end for the actors. The only other scenery consists of a series of trunks, from which props and costume pieces can be retrieved and stored.   

The evening’s standout performance comes from Tessa Dettman as Jo. She serves as both the narrator/storyteller and, more often, the play’s main character. This actress fully understands nuance, how to deliver a line or lyric effectively and how to react with complete honesty to everything around her. Indeed, the play’s emotional through line can be found in Ms. Dettman’s expressive voice, face and eyes. She is, without a doubt, an actress to watch.

Likable, handsome young Will Kadza plays Laurie like a big puppy with a little too much enthusiasm to fit comfortably on the Strawdog’s intimate stage. But the actor’s earnestness appears genuine, if  overly zealous at times; however, as Laurie grows into manhood, a calm maturity takes over. Although his accent wavers, Matthew Fayfer proves to be a standout vocalist as Professor Bhaer. Dwayne Everett is fine as John Brooke and, while a little overplayed, Ken Rubenstein’s Mr. Laurence is entertaining. Jenny Rudnick is an appropriately stern, pinch-lipped and overbearing Aunt March. She also brings some welcome humor to her scenes. It’s too bad Meagan Beattie, whose mostly authentic-looking costumes are the icing on this confection, couldn’t muster up another gown for the lady. She’s the wealthiest character in the play but wears the same dress throughout; maybe that’s why she’s so rich…she’s frugal.

As for the rest of the March family, Denise Tamburrino, is a little too understated as Marmee, the loving matriarch who holds the clan together. She sings beautifully, but appears to merely be walking through the play, sometimes offering a bit of warmth, but often lacking enthusiasm. Kim Green, however, does a very nice job playing spoiled, youngest daughter, Amy. She really gets to blossom in Act II, as a young adult returning home from Aunt March’s  tutelage and Grand European Tour. And Sarah Ford and Andi Sharavsky give competent, satisfactory portrayals of sisters Beth and Meg.

Seeing this classic brought to life is always a treat, especially featuring such a beautiful, heartfelt score. T.J. Anderson and accompanist Justin Harner provide the musical direction for the production. Louisa May Alcott’s story has been streamlined here, much like a Readers Digest Condensed version of the original. These are the original American Girls, with lovely Tessa Dettman giving a bright, sincere and multi-layered portrayal of Jo March, and a strong supporting cast to share the story. This modestly produced storefront offering is a fine adaptation of this beloved novel. It offers audiences a gentle reminder of how it’s still important to be loving, kind and supportive of one another.      

Recommended

Reviewed by Colin Douglas

Presented January 11-February 9 by Brown Paper Box Co. at Strawdog Theatre Company, 1802 W. Berenice, Chicago.

Tickets are available at the box office, by calling 773-528-9696 or by going to www.BrownPaperBox.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.