Little Women | The Lowry

It is often stated that, as a writer of any kind, you should “write what you know”, a sentiment that could not be more apt of literary giant Louisa May Alcott, whose best known work, the 1869 novel Little Women, borrows both directly and indirectly from the author’s own life, as a girl growing up with three sisters. And it’s the three inherently present themes of, in the author’s own words, “domesticity, work, and true love”, that are the predominant driving force of this timeless tale of four siblings, each with distinctly individual traits that make them who they are, and their respective journeys from adolescence into womanhood whilst also contending with a father fighting overseas, and unyielding financial difficulties.

Anne-Marie Casey is the latest to throw in her hand, and attempt to readapt this behemoth of the written word into a new staged production, following successful adaptations of Emily Brontë’s Wuthering Heights, and Tess of the D’Urbervilles by Thomas Hardy. In this production of Alcott’s magnum opus, director Loveday Ingram keeps it simple, maintaining the text as very much being at the forefront of proceedings, creative embellishments are beautifully designed, yet not overbearing, especially Ruari Murchison’s set and costumes, which transport us vividly to the mid-19th century.

This production wasn’t always the smoothest directorially, as during transitions and scene changes we lost a bit of flow, and the extended silences didn’t necessarily always have the desired effect, feeling like proceedings were being held up somewhat. However, there is no denying the sheer amount of heart that is on display. The use of music and sound in order to ground us, as well as reflect the emotion of the scene in question, was absolutely delightful, with particular praise reserved for the quality of the vocals during choral numbers.

We also had some recurring well-known themes such as Beethoven’s “Ode to Joy”, but it was the various uses of “Battle hymn of the republic” (you may know this as “glory, glory, hallelujah”) that was a rather brilliant choice by Casey, as it is very much an anthem of the time period during which the work was written and set, and makes numerous recurrences throughout the play. These vary in tempo and musical texture to reflect the mood of the scene, from a triumphant chorus in the beginning, to a slow solitary piano during act two and a majorly emotional, sombre scene featuring an unwell Beth March.

Each of the four March sisters is played so distinctly differently to the others, and the characterisation across the board is wonderful. Grace Molony was fiery, unruly and headstrong as Jo, whilst Jade Kennedy superbly portrayed a proud, assertive oldest sister Meg; Catherine Chalk as Beth was always sweet, charming and unreserved, but perhaps the most intriguing was Imogen Elliott as youngest sibling Amy. Played initially as terrifically spoilt and audacious, evolving the character beautifully into the steadfast young woman she grows into during the second act. And the interactions between all four were always presented earnestly, and with great conviction.

The other major highlight was our Aunt March, the way in which she is depicted by Belinda Lang was marvellously zealous, and done with such wonderful humour and guts. We have all had that grandmother or older relative whom always has a strong sense of shamelessness, yet their own way of showing their love, qualities that are often prevalent with the elder March lady, and Lang is an effervescent treat in her portrayal. What this adaptation lacks in narrative flow, it more than makes up for with how much it wears its heart on its sleeve.

Little Women is a story for the ages, that really doesn’t need anyone to go all out in staging it, and Casey has certainly fulfilled Alcott’s thematic criteria with great aplomb.

Little Women runs at The Lowry in Salford until 12th April.

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★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography provided by The Lowry