‘Little Women’ is loved across the world in its various iterations; from its original publication in 1868, it has been widely adored, with critical and commercial success. Based loosely on author Louisa May Alcott’s own life, we follow the lives of four sisters; young women forging their path from childhood to adulthood. Loud and rambunctious Jo, ladylike Meg, quiet yet ‘good’ Beth and the youngest, Amy, used to getting her own way. The play begins just after their Pa has left to serve as a Chaplain for the Union in the American Civil War, and each girl is dealing with it in her own unique way.

This version has been adapted by Anne-Marie Casey, screenwriter initially who has now turned her attention to stage adaptations, having also adapted Wuthering Heights for stage in 2014. I loved the pace and the humour of this script; it loses none of the original whilst breathing life into the plot and giving these characters a chance to come alive on stage. It is genuinely witty and funny and full of heart, a fact we can, obviously, primarily credit to the original novel, but also shines here on stage which is a credit to Casey. The piece has direction and movement direction from Loveday Ingram and Mike Ashcroft respectively, and I loved the innovative use of the space. The set changes very slightly throughout, but with the direction we always feel like we are in a new space, whether that’s skating across an ice-covered pond, dancing on a balcony at a ball or stealing that first kiss in the snow.

Lighting and design, by Ruari Murchison and Mike Robertson, complements the actors well. I loved the world of ‘Little Women.’ The set is a living room amongst the trees, so to speak, but we are never in any doubt as to where we are. The trees and stool double as the window that Laurie is constantly clambering through, the flats at the back of the stage mean we can see each girl in tableau as time passes and they go from girl to woman. Sometimes simplicity is best, and I loved the idea of nature permeating the house in which the girls lived. Jo’s writing desk being ever present is also a nice touch as if, it’s the desk itself, that is charting the lives of these women. Lighting is also simple but effective; especially stark during Amy’s fall through the ice. I loved the addition of contemporary hymns and Christmas songs to add colour to the piece and to the lives of Marmee and her girls. Matthew Bugg, Composer and Sound Designer, adds his own touch to the piece; the arrangements are beautiful and sang so well by the ensemble.

This is a very well-cast company. Led by Grace Molony as Jo, who perfectly balances Jo’s tomboyish tendencies with her uncompromising love for her family, her passion for life, writing and independence, and her softer, more loving side towards the end of the show. She is excellent, a perfect Jo and she achieves plenty of laughter in our matinee audience. Jade Kennedy as Meg is wonderful; the will she, won’t she romance she shares with Jack Ashton as John Brooke is very endearing. There is, again, a lovely balance of humour but also the more serious, mothering side of Meg. They are joined by Catherine Chalk as Beth; her nervous energy around strangers is truly palpable throughout act one, and her tragic ending is expertly handled by Chalk. The final ‘little woman’ is indeed the littlest; Imogen Elliot as Amy brings a childlike innocence and petulance in act one, which blossoms very effectively into a society woman in act two.

They are accompanied by Belinda Lang who is excellent as Aunt March. Her accent is perfect, and her deadpan lines are delivered with expertise. She is delightfully blunt and rude, a fantastic addition to the cast. Ellie Pawsey understudied as Marmee in this performance and her motherly light really shone in the role. Her strength in holding together her family was really evident yet she was able to balance this with the emotion of hearing about her injured husband and the pain of losing a daughter. Outnumbered, but no less talented are the men of the piece. Cillian Lenaghan as Laurie bounds across the stage, the perfect opposite to Meg, seemingly more grown up and mature than them all in act one and then discovering his petulance in act two. Cillian counterbalances Monoly’s Jo with ease and they have a lovely chemistry. Finally, Jack Ashton who spends act one as Meg’s love interest, John Brooke and act two as Jo’s love interest, Frederick Bhaer. Ashton delivers these two distinct characters with ease. It is easy to put aside our dramatic disbelief and invest in him as both characters. I really enjoyed his Frederick especially, with a great accent and a softness and hesitation to his admission of feelings for Jo. This is a faithful adaptation, which keeps close to the original but also has its own voice and identity. Its true success is in its accessibility; I have never read the book (but will do so now!) and was sat alongside two sisters who have seen every iteration on film and were read the novel every night by their mother as children. I love how we came in with very different expectations and knowledges of the story but all left having absolutely loved this version. The show is lovely; touching, poignant at times, full of heart and humour; perfectly chronicling the lives of these little girls into ‘Little Women