It is doubtful that Little Women: The Musical will become a theatergoer's all-time favorite show, in the way some feel about South Pacific or even the macabre Sweeney Todd. There is much to like about Little Women, but unfortunately, the deficits outweigh the show's few but undeniable benefits.
To begin with, the show opens on a slow note and rarely picks up speed. When it does start to move briskly along, it's mostly because the creators are attempting to squeeze in all the elements of the epic novel by Louisa May Alcott. (This is not a good idea as it makes things confusing.) Those familiar with the classic novel will certainly recognize the story and characters. However, many of their nuances are lost within the timeframe of a musical. Sometimes, characters take on a whole new "look." For instance, Laurie the sad and frail orphan boy who lives next door, here becomes an athletic, zesty young lad. The role is clearly a showcase for Stephen Patterson, who commands the stage like a Broadway star.
Luckily, the show's emphasis remains on its main characters, the four spunky March sisters. The sister who gets the most attention is Jo, a writer Kate Fisher. Fisher gives a stunning performance as a girl who thumbs her nose at convention. This attitude has a cost, though. The girls' rich aunt (played by Neva Rae Powers) breaks her promise to Jo and elects to take another of the sisters to Europe. Heartbroken, Jo strikes out on her own, traveling to New York and pounding on publishers' doors. Before this happens, however, we are treated to many episodes in the young lives of the March sisters. In addition to Jo, the sisters include Meg, the oldest; the ill-fated Beth; and the sprightly youngest daughter, Amy (played by Gwen Hollander).
Here, too, the musical swerves from the novel. The fact that Laurie gives in to Amy as the only way to stay close to the family after Jo declines his proposal is not even hinted at. In fact, Laurie has an entire speech about how he "surprisingly" fell in love with Amy in Europe, where she has traveled with her aunt. Although the show is set during the Civil War, one doesn't get much of a sense of place. The only references to the war are in regards to the father's whereabouts (he has volunteered as a chaplain for the Union army). The father keeps in touch by sending infrequent letters, which are read to the girls by Marmee. Surprisingly, we never find out what happens to the father.
On the plus side, the performances are excellent across the board. Although the show has a bonafide "star," pop singer Maureen McGovern, she blends into the action rather than attracting attention to herself. McGovern plays the mother to all these headstrong girls. Her stoicism and unlimited love are things the girls cling to in the troubled times of war. McGovern is everything could want in Marmee (the name given to her by the girls). She does have a chance to shine in the spotlight near the show's end, as she sings, "Days of Plenty." Most of the other tunes are pleasant but forgettable, except for the wonderful Act I closer, "Astonishing," (sung by Jo).
The sets are about average for a touring company. They vary from the March's parlor to Aunt March's estate, some outdoor settings, and the March's attic. It's here that Jo hatches the plots of her latest "blood and guts" novels and writes the annual Christmas play that includes the entire household. Costumes are muted, as one might expect for a family that's barely scraping by. Aunt March, the wealthy widow, exemplifies the other extreme in her extravagant finery.
In all, Little Women is a heart warmer during certain moments, but its impact begins to fade almost by the time one reaches the exit.
