Review: LITTLE WOMEN THE MUSICAL at Coasters Theatre

Little Women is a stage musical based on Louisa May Alcott's beloved 1868-69 novel of the same name. Featuring a book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein, it tells the story of the four March sisters during and after the American Civil War.

The musical underwent an extensive development process, beginning with workshops in 2000 before being further refined at Duke University and eventually making its way to Broadway. Its Broadway premiere opened on 23 January 2005 at New York's Virginia Theatre. Directed by Susan H. Schulman and starring Sutton Foster as Jo March, the production received considerable critical acclaim. While its run lasted just 137 performances, Foster's standout performance earned her a Tony Award nomination.

Set in Concord, Massachusetts, Little Women follows the lives of sisters Jo, Meg, Beth, and Amy March. While their father serves away from home during the Civil War, the girls are guided by their loving mother, Marmee. Together they navigate the challenges of growing up, pursuing their dreams, facing disappointments, and discovering who they are meant to become. Along the way, they form meaningful relationships and learn enduring lessons about family, resilience, love, and self-belief.

Before the show, I chatted with a couple of friends, one of whom knows the novel inside and out and was keen to see whether the musical remained faithful to the source material. Having never read the book myself, I came to the production with no expectations. I found the story completely captivating and remained fully engaged throughout. While I felt the first act could perhaps have been trimmed by ten minutes, the second act moved along at a cracking pace, and by the finale I was hanging on every word.

The theatre itself is a small and challenging space. With only a modestly raised stage, sightlines can be obstructed, particularly for patrons seated towards the rear of the floor section. Director Lauren Loghry appeared mindful of these limitations, ensuring the action remained dynamic and well distributed across the stage. The movement felt natural and purposeful, helping to maintain audience engagement throughout.

The standard of performance was consistently high. The acting was strong across the board, and the vocal performances were, for the most part, of a similar standard. Jamie Hartford's lighting design was thoughtfully executed, while the sound team of Simon Cross and Vic Roper deserve special recognition. Achieving the correct balance between recorded accompaniment and an unamplified cast is no easy task, yet the mix was spot on throughout the performance. Music cues were delivered flawlessly, contributing greatly to the show's overall polish.

Megan van der Westhuizen, as Jo March, was the undeniable star of the production. Combining a powerful singing voice with exceptional acting ability, she delivered a performance that was both emotionally engaging and technically impressive. Remarkably, this was her debut production with Coasters after previously performing in school shows. Based on this performance alone, it seems certain that she will be in high demand among theatre societies as word of her talent spreads.

The rest of the March family were equally commendable, with each performer enjoying moments to shine. Jacey McGrath brought warmth and sincerity to the role of Marmee, particularly during her heartfelt solo reflecting on her husband serving away from home. Mary Cross, who not only portrayed the formidable Aunt March but also served as musical director, clearly relished her role and delivered a strong vocal performance. I also particularly enjoyed Seth Leslie's portrayal of Professor Bhaer, whose gentle presence provided several of the production's most charming moments.

This production was my first encounter with Little Women. I remember my sister being an avid fan of the books, and it is clearly a story that has resonated with generations of readers and theatre-goers alike. Having now experienced the musical, I can certainly understand why.

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