Capital Region Performance Gallery

by Dick Frantzreb

Little Women, by Louisa May Alcott is a story that has charmed generations. It’s a distinctly American story, full of human emotion that has been given new life and intensity with the addition of almost two dozen songs that will make you experience this classic in a whole new way. And the new experience that is waiting for you is masterfully crafted in this production by the Lincoln Theatre Company. They have assembled a cast of 17 experienced actors who are also excellent singers. That was my impression time and again as I watched (and listened) to this story unfold on the second night of this production at the Lincoln Civic Auditorium.

Little Women The Broadway Musical is directed by Kelly Ann Dunn. As a brilliant singer and actress, I have seen her perform on different Placer County stages over the past decade, so I was delighted to see her turn her talents to directing. I expected a lot when I heard of her involvement, and I wasn’t disappointed.

I entered the theater 10 minutes before the start of the performance. Since the story begins in 1865, music evocative of the Civil War era was playing. I took my (comfortable) seat, and looked over the stage, which was open to view. The back wall was full of handwriting that looked like an enlarged facsimile of Jo March's (Louisa May Alcott's) manuscript. Interestingly, there was an upstage catwalk, 8 feet or so above the stage. Eventually it would be a place where characters' imaginations could be acted out ― or from where the adult Jo could watch herself interacting with her sisters when they were much younger.

(Click here to open the program in a new window.)

Throughout this show I was impressed with the quality of the acting. And that impression began in the very first scene where Samuel Quinzon brought a lot of legitimacy to the character of Professor Bhaer with a good, consistent German accent. Of course, it is Jo March who is the primary focus of this story, and Emma Harlow give her determined spirit a lot of nuance. She was particularly endearing in her cute, coy interaction with Laurie at the ball. Later, the reconciliation of Jo and Amy, after Amy had fallen through the ice, was an especially tender moment. But there were many such moments where Harlow brought out the different facets of Jo’s character.

I have to add a note about the scene of Beth’s passing, which was so artfully presented. Jo’s anguish felt real. And everyone in the audience was touched when, after her passing, Beth was led offstage by a “guide.” Another interesting moment was when Beth, unseen to the others, danced while Marmee sang about her. It made a beautiful scene of comfort for Jo ― and us.

Of course, anyone who knows this classic story is well aware that it’s not all sweetness. There is plenty of conflict and anger ― and the lessons one can draw from them. A good example is the tense and troubling scene where Laurie proposes to Jo, putting their relationship on a new footing. This is followed by Jo’s determination to strike off on her own. It’s at this point that Jo sings “Amazing” – and “amazing” also describes Emma Harlow’s voice in this scene that brings Act I to a dramatic close. In my notes I wrote that this song was “a major triumph” for Harlow, adding “that’s a Broadway voice!”

(Click here for a list of the songs and who sang them.)

You probably haven’t heard the songs in this show, but there are so many wonderful ones. I’m thinking now of “Small Umbrella in the Rain,” just one of many that were charming at the moment but also memorable – songs that you will want to hear again. This music captured a wide variety of emotions, while showcasing the singing talent of one performer after another. For example,

• One of the first songs that really moved me was “Here Alone,” sensitively sung by Christy Osterberg as Marmee.
• “Five Forever” was brimming with a wonderful spirit, not to mention good singing and cute choreography, as the four March girls welcomed Laurie into their circle.
• Another song that resonated with me was “Delighted” with Marmee and the 3 older sisters. It was full of energy and darned good ensemble singing.
• “Take a Chance on Me” was a key moment in Laurie's relationship with Jo, and I felt that Caleb Champe really captured the potential of that song.
• The sweetness of Beth's character was matched by the sweetness of Beth's singing voice ― thanks to the talents of Ella Bleu Bradford.
• And crusty grandfather Laurence, played by Ken Reiss, gave us a heartwarming moment when he relented in his coolness toward Beth as they sang “Off to Massachusetts.”
• Brooke’s proposal to Meg in the song “More Than I Am” was one of the singing highlights of the show, due to the strong performances of both Trey Quinn and Avery Hersek.
• Samuel Quinzon as Professor Bhaer surprised me with a remarkably good voice and acting in “How I Am.”
• To my mind, there wasn’t nearly enough in this script for the young women who played the March sisters in their early years. Their energy was captivating, and so was their singing, especially that of young Jo (Kylie Standley), who just sparkled.
• From the start I couldn't help but be impressed by the acting of Merilee Thompson Imamoto as the imperious Aunt March. Still, her beautiful delivery of “Change” caught me by surprise.
• Yet another strong singing performance came from Addison Hersek as Amy in her duet in “The Most Amazing Thing” with Laurie. But beyond the singing, she played the effervescent, irrepressible Amy with complete abandon. And she used her voice with particular skill to represent Amy's different moods and the different stages of her life.

Little Women The Broadway Musical is a story full of life lessons: the importance of forgiveness and second chances, overcoming disappointment, the redemptive quality of kindness, etc. But the recurring message in this story is the importance of family. That point was articulated simply but elegantly when Amy commented at a discouraging moment: “But we have each other.” Kelly Ann Dunn elaborates on this thought in her director’s notes, and I urge you to see what she has to say. It shows what Dunn understands to be the essence of this show and what obviously guided her directing.

If you’ve read the book or seen one of the movies, you’ve been charmed by this very touching, very American story. Now in the hands of a capable director and cast, there is music that amplifies everything you’ve felt about the March family before. But it doesn’t matter if you’re not familiar with the story:  “Little Women The Broadway Musical” will be a perfect introduction. And believe me, you can't experience this show ― so artfully presented ― without feeling uplifted.

(I hope you’re reading this in time to catch one of the performances before the show closes on March 8. Find out about this and future productions of the Lincoln Theatre Company at www.lincolntheatrecompany.org.)

Picture credit: Ron Nabity