Little Women
My thoughts on Little Women or…this all-star cast almost changes my mind.
Most of my friends and associates will tell you that I am not a fan of Little Women, and I had not planned to attend until I was informed of the cast, which is filled with so many actors I admire, I knew I could not miss it. It was a good decision.
I reviewed Little Women during its pre-Broadway try out at Duke University in 2005 and was less than impressed with the musical. Even Sutton Foster and Maureen McGovern couldn’t save it for me. It did make it to Broadway where it got a lukewarm reception and ran for 157 performances. One of the primary issues with Little Women is that it is too small of a story for a large Broadway size stage.
Little Women works much better as a chamber musical in a more intimate venue like Garland Civic Theatre. The colorful projections designed by Brandy Nuttall establish the locations of the scenes on the set designed by Edgar Hernandez. Hank Baldree’s excellent lighting gives the scenes focus. Wiloni Rollins Darrington’s costumes are attractive, authentic looking, and 19th century appropriate (except for Amy’s bridal gown which somehow teleported in from the future).
Music Director Kelley Poche Rodriguez has the singing soaring and the orchestra filling the arena with the romantic, sweet score and Jill Lightfoot, who also choreographs, directs fluidly and with an obvious affection for the characters.
And who could resist those March sisters and Marmee? The immensely talented DonnaMarie Knight leads the cast as Jo March and, as her solo declares, she is “Astonishing!” Knight rules the stage from first entrance to last exit as the fiercely independent, passionate about everything but romance, writer of imaginative adventure stories that sometimes pop off of her pages and on to the stage with delightful effect. Knight simply becomes Jo in a tour de force performance. Just remarkable.
Faith Grier is the eldest March daughter, Meg. Grier, with her lovely voice and engaging demeanor, embodies the perennially hopeful Meg. Meg meets and later marries, the proper, kindhearted John Brooke, portrayed here by the terrific Hunter Lewis (who also appears as the dashing, black leather clad Braxton in one of Jo’s stories). The thrilling voices of Lewis and Grier join together in the moving and beautiful duet “More Than I Am,” a major highlight of the show.
As the gentle Beth, Elyse Allen captures all the subtle charm of the optimistic character who tries to keep harmony in the family. Allen gives Beth a quiet dignity with her thoughtful, understated performance. Beth’s charm opens the heart of the wealthy Mr. Laurence, a severe, strict neighbor of the March family played with skill by David Noel, who transitions from threatening presence to kind benefactor. Watching Noel as Laurence go from stern to tender is one of the pleasures of this Little Women.
The youngest March sister is the vain, bratty Amy. Totally inhabiting the role, Kylie Shoemake’s Amy is irritating, playful, and hateful simultaneously. It is a challenge to play such an unsympathetic character and Shoemake does so masterfully. We even sort of forgive Amy’s egregious treatment of Jo a bit in the end, but just a bit.
The matriarch of the family is Marmee played by the marvelous Lucia A. Welch who projects the warmth and compassion of the character in a quiet, caring manner. Welch’s Marmee is strong and determined even when facing the challenges of raising four daughters alone while her husband is away at war. Welch has a lovely, moving solo with “Days of Plenty” as she mourns a child but knows life must go on.
The never less than sensational Sally Soldo is the wealthy, socially prominent Aunt March. Soldo looks almost regal as the aunt who wants the March girls to observe the social graces. She is a tough, aristocratic woman used to having her way, which is not a trait Jo admires. Soldo has a great witty song “Could You?” in which she questions the ability of the headstrong Jo to be able to change.
This is the third time I have seen Jacob Catalano as a romantic lead in a musical this year. This time, as Professor Bhaer, he does it with a German accent. Catalano, a fine actor and singer, always evokes the Hollywood leading men of the past like Jimmy Stewart or Joel McRae and never more so than here in scenes with Knight’s Jo. Catalano’s Bhaer is awkward and eccentric but fascinated by the young woman writer. Watching their relationship grow is another highlight of the musical.
Dylan Ciminna portrays Laurie Laurence, a wealthy young neighbor of the March clan who resides with his grandfather. He is friendly with all the March girls but finds himself in unrequited love with Jo, with whom he shares his future dreams, but he ultimately marries Amy. Laurie Laurence is a charmer and Ciminna, one of the most innately gifted actors I have come across in my tenure in DFW, makes Laurie’s every move ring true. I don’t know how one so young as Ciminna developed such skill, but even his most subtle gestures enhance the character of Laurie. Whether stealing a kiss from Jo or being scolded by his tutor, Ciminna’s character choices are spot on.
I also want to recognize Trenton Mosty who is a most excellent Rodrigo in one of Jo’s stories brought to life and who understudies Laurie.
Although Little Women will never be in my top 50 favorite musicals, I admired the staging and the singing in Garland Civic Theatre’s production. If you are a fan of the show or have never seen it, I highly encourage you to go. It’s very well done and you may never see another Jo as good as DonnaMarie Knight’s.
