Theater review: ‘Little Women: A Victorian Christmas Card’ is signed, sealed and delivered at 2nd Space Theatre
By Heather Parish
Good Company Players’ stage production of “Little Women: A Victorian Christmas Card,” adapted and directed by Laurie Pessano, delivers a faithful and heartwarming retelling of Louisa May Alcott’s beloved novel, with a few strategic tweaks to keep the narrative fresh and engaging for contemporary audiences. The production embraces the familiar themes of family, love, and personal growth, while also highlighting the evolution of the iconic March sisters in uplifting and thoughtful ways.
Signed by an energetic cast
The Thursday evening performance I attended was a clear crowd-pleaser. The tone is intentionally warm and family-friendly, perfect for the holiday season. Although “Little Women” may not initially seem like an obvious Christmas story, Pessano’s choice to compress the timeline into the autumn and winter months gives the production a cozy, seasonal vibe, making it an ideal holiday outing. Bookended by Christmas scenes, it subtly emphasizes the importance of togetherness during the holidays. However, at two and a half hours, the show may test the patience of younger (or older!) audience members, so it’s best to keep that in mind when planning a trip to the theater.
The ensemble cast is energetic with stand-out performances from the central characters. The March sisters –Jo (Erin Brown), Meg (Claira Broach), Beth (Cailey Feemster), and Amy (Jessica Martin) — are performed with a mix of exuberance and sensitivity. Brown, in particular, is boisterous and full of life, capturing Jo’s fiery independence and occasional tendency to bully.¹ (Footnote below.) Amy’s youthful charm and artistic aspirations are conveyed with a nice touch of humor from Martin, while Feemster’s Beth is tender and vulnerable, providing a poignant contrast to her more outwardly confident sisters. Broach’s portrayal of Meg, as the more grounded and maternal sister, offers a nice balance to the other characters, making the relationships between the March sisters feel authentic. As Laurie, the charming neighbor and eventual source of romantic drama, James Anderson delivers a performance full of energy and warmth, playing off Jo’s spirited personality with equal exuberance.
Sealed with experience
The young company is just that — young — and feeling their way through some tricky emotional moments. While the first act is enjoyable, it occasionally feels like the characters are still in development, lacking some of the shading that would make their early scenes more compelling. As the characters mature, however, the actors become more vigorously connect with the emotional beats of the story. This makes the second act particularly moving, as the March sisters come into their own and face the complexities of adulthood. This gradual development mirrors the growth of the young actors themselves, who seem to be maturing into the art form as they portray their roles with greater nuance.
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The young cast is also buoyed by a bevy of experienced actors. Sally Tay Howe is a grounded and centered Marmee, but also keeps her from feeling like a saint. Tracy Hostmyer as Aunt March plays up the ridiculousness of the character, providing much more comedy than we normally see from the old crone. Aurora Nibley (Hannah), Patrick Tromborg (Mr. Laurence), Nathan Vived (John Brooke), and Roger Christensen (Dr. Banks) all bring a wide range of nicely delivered moments, providing rich texture to the March Family Tapestry. And Shawn Williams is easily one of the most appealing Professor Bhaers I’ve seen performed. Both serious and smiling, he shines in each scene he’s in.
Delivered with a nod toward the story’s timeless appeal
A crucial part of the adaptation’s success is the effective use of a narrative device via letters to Papa March, who is serving as a chaplain in the Civil War. Mark Standriff’s heartfelt delivery of these letters adds a layer of emotional depth to the show. His simple but sincere readings anchor the story in a way that feels both timeless and deeply moving.
STORY CONTINUES AFTER SPONSORED CONTENT
The production’s visual elements — designed by David Pierce (set) and Ginger Kay Lewis-Reed (costumes) — are nicely crafted. The set is versatile and homespun while the costumes reflect the period as well as the genteel poverty of the March family. While most of the show is well-lit (lighting by Brandi Martin), there are a few moments in the downstage corners where important scenes are shadowed, masking some key emotional moments.
Pessano’s direction utilizes the entire stage space inventively, allowing for a fluid and dynamic production that keeps the story moving forward. While the adaptation is straightforward and respectful of the source material, there are moments in the first act where the pacing could be tightened, perhaps through some more creative interpretation of the story. That said, Pessano wisely keeps the focus on the characters and their emotional growth, ensuring that the heart of “Little Women” remains intact.
Overall, Good Company Players’ production of “Little Women: A Victorian Christmas Card” is a heartwarming rendition of this classic story. While there are minor areas for improvement, the show successfully brings to life the timeless appeal of Alcott’s classic, making it a worthy choice for theatergoers of all ages this holiday season.
Show info
“Little Women: A Victorian Christmas Card,”a Good Company Players production at 2nd Space Theatre. Continues through Dec. 22.
¹ Nota bene: Yes, “bully.” I am on Team Amy in the great manuscript controversy of 1862 and I will die on that hill! Fight me!. . . .in the comments. -HP
Steph
Amy burned Jo’s manuscript!! That’s a permanent action, no matter the reason.
Team JO!
Btw, really well written review, as always.
Heather Parish
That may be, but I cannot get past the way Jo routinely targets Amy for bullying and insults and then is shocked, shocked, shocked(!) that Amy’s feelings build to retribution. Jo is nearly an adult with some adult responsibilities and Amy is still a child. Jo needed to feel the backlash and Amy found her agency to do it. They both learned something important that night: the harm that both words and actions can do to those closest to you. And it took Amy’s retaliation to do it. #TeamAmy #GrowUpJo!