FEMALE CAST SHINES IN SLT'S LITTLE WOMEN
Theater Babe Says: Go … and Enjoy a Musical Version of a
Classic Tale
The musical is based upon the 1868 classic novel of the same
name and tells the coming of age story of the four March sisters: Meg, Jo, Beth and Amy. The musical is a mostly faithful if truncated
adaptation, though aficionados of the original may wonder at a few of the
alterations librettist Allan Knee made in the musical’s book. Set in Concord, Massachusetts during the
final years of the Civil War, the March sisters live in genteel poverty while
their father is away and Jo dreams of liberating her family from their penurious
state by publishing her melodramatic stories. The sisters befriend their neighbor, Theodore “Laurie”
Laurence, and alternately squabble, tease, cry and rejoice their way to
adulthood.
This version of the tale focuses predominantly upon Jo’s
story, and Alyssa Romanelli’s depiction of a character who has been referred to
as American literature’s first feminist does not disappoint. Ms. Romanelli captures Jo’s independent,
multi-faceted spirit and is equally credible as the roughhousing tomboy, the
passionate writer and the loyal, loving sister/daughter. Ms. Romanelli possesses a glorious singing
voice that is especially showcased during the Defying Gravity-esque “Astounding” which closes the first act.
While the other sisters’ characters are not as well
developed in this script, the actors are nonetheless convincing in their
respective roles and together present a credibly bonded family unit. Kathleen Halverson is perfectly petulant as Amy,
but does not permit that single trait to dominate her performance; we like and
understand the youngest sister, when a less-skillful execution of the character
could easily be merely whiny. Emily
Dempsey’s Beth is more energetic and outgoing than we typically expect of that
role and those traits undermine the wistfulness of her dialogue during Beth’s
climactic scene. Overall, however, the
unusual interpretation surprises, but does not displease as it takes advantage
of what appears to be Ms. Dempsey’s natural effervescent stage presence. She is simply delightful to watch. Although the unique interpretation perhaps causes
Jo to be less protective of Beth than we have seen in other productions of this
story, it makes their relationship no less poignant as is most obviously
displayed in their duet, “Some Things Are Meant To Be.” Ms. Dempsey’s rich singing voice melds well
with Ms. Romanelli’s, and that number is one of the highlights of the show. The Theater Babe only wishes that “Off to
Massachusetts,” Beth’s duet with the gruff Mr. Laurence -- pleasantly portrayed
by Bob Neel -- might be staged differently so that Ms. Dempsey would not spend
the majority of the song sitting upstage right with her back to the audience.
As Meg, Celia Brockway Macchia is at her best during the
scenes with her sisters where she is believably warm and loving. Her scenes with Meg’s suitor, John Brooke, played
here by Stephen Maney, are less successful because the two lack any discernable
chemistry. That deficiency is not helped
by the staging of their love song, “More Than I Am,” during which the two
inexplicably spend most of their time at opposite ends of the stage. Mr. Maney’s Mr. Brooke is strangely aloof and
the character’s attempts to romance Meg are stiff and awkward -- not in a way
that convey Brooke’s shyness and insecurities, but which rather seem to
indicate the actor’s uneasiness with the role.
As a result, we find it hard to believe that the lively Meg would find this
Mr. Brooke appealing. Mr. Maney seems
infinitely more comfortable playing the villain, Braxton, during the scenes
when they act out Jo’s novels and his campy, over-the-top portrayal of the
antihero is much fun.
As Marmee, the girls’ mother, Chris Ann Wells is sincere and
understanding. Ms. Wells possesses an
outstanding singing voice, and her “Here Alone,” a ballad expressing the
struggles and uncertainties of a spouse and parent made temporarily single by
the war, is breathtaking.
Timothy Wright brings enthusiasm and charisma to his
character, Laurie, the boy-next-door.
Mr. Wright’s Laurie is winsome and likeable and he displays an
impressive singing voice which could use a touch more support during the higher
and extended notes to prevent them from becoming nasal in tone. Mr. Wright appears to be noticeably younger
than Ms. Romanelli, so the camaraderie which is the heart of the Jo/Laurie
relationship doesn’t quite gel and we see, rather than truly believe, that Laurie
feels deeply for Jo. By distinct
contrast, later in the show Laurie’s rapport with Amy is palpable, and Mr.
Wright’s duet with Ms. Halverson is adorable in the best sense of the word.
James Clarke delivers an effective performance as Jo’s love
interest, Professor Bhaer. His banter
with Ms. Romanelli is well-timed and convincing, and he has a beautiful singing
voice best displayed in “Small Umbrella in the Rain.” Mr. Clarke maintains a consistent German
accent throughout, but the Theater Babe wishes that it were not quite so
prominent during the Professor’s musical soliloquy, “How I Am.” Mr. Clarke’s pitch and tone are wonderful,
but because the accent obscures his diction, we not only lose the emotional impact and the character development
that are inherent in the song, but the Professor’s subsequent courtship
of Jo then lacks context for anyone unfamiliar with the novel. Carrie Grace Morgan is creditably brusque and
critical as the sisters’ Aunt March.
No set designer is credited in the program, but the design
is worthy of mention. The two-level set shows
the Marches’ living room and attic and both are well-dressed with appropriately
period pieces. Despite the desk and
trunks in the attic and the chair and sofa in the living room, however, the blocking
makes little use of the furnishings, often stranding the actors for long
moments just standing center stage. It’s
a minor note, to be sure, but it does weaken the naturalness of the characters’
interactions, and because of the sisters’ visibly strong bond with each other, it
is particularly noticeable in the scenes where no other characters are involved.
Similarly, no costume designer is listed. Those efforts are less consistent. Marmee’s hoop-skirted, earthen-toned dress is
perfectly period, but Jo’s obviously new party dress – worn by an impoverished
girl at the end of the Civil War when fabrics were expensive and scarce – made of
bright red satin is very pretty, but jarringly wrong for the context. In the second act, Jo is confusingly clad in
a Colonial-era style typical of a woman in the mid-18th
century. Because Jo makes the remark that
she is wearing one of Aunt March’s old dresses, perhaps the wrong-period gown is
meant to be a visual joke, implying that her aunt is a more than a century old. Even if that is the intent, the gown unnecessarily
detracts from the credibility of the show and would not be worth a laugh even
if it elicited one from the audience.
The orchestra, directed by Trey Gwaltney, not only supports
the singers but is a pleasure to hear in its own right. Kudos to Mr. Gwaltney and to Erika Chesson
(piano), Sharon Priest (violin), Joyce Singleton (viola), Jeraldine Herbison
(cello), Barbara Morgan (bass), Trudie Matthews and Jenn Melms (flute/piccolo),
Kim Wharam (clarinet), Tom Graper and Meade Fowlkes (trumpet), Claire
Schaumleffel (french horn), Jason Gillette and Randy Cole (trombone) and Tyler Maloy
(percussion).
Bottom line? There
are a few problems in this production which prevent it from reaching its full
potential, but the beautiful singing voices and able performances particularly,
but not only, by Ms. Wells and the “little women,” Ms. Dempsey, Ms. Halverson,
Ms. Macchia and Ms. Romanelli, make it well worth the time and the ticket
price.
© 2016 Hampton Roads Theater Babe. All Rights Reserved.