Book by Allan Knee

Music and Lyrics by Mindi Dickstein and Jason Howland.

Directed by Jo Heinemeier

Musical Direction by Hannah Fleming

Fresh off the hugely successful run of RENT in the same venue, Bare Productions turn towards a timeless novel turned fan-favourite musical to close out their Festival Fringe run for the year. And what a gorgeously emotional and enjoyable show to choose.

Bare Productions presents Little Women, Louisa May Alcott, a tale of the March sisters who enter the threshold of womanhood, as they go through a spectrum of life’s ups, downs, and difficulties while endeavouring to face the decisions which will alter their future – and their families. The musical from Allan Knee and Mindi Dickstein features a variety of musical numbers highlighting the emotions behind the most iconic scenes in the well-known story.

Leading the production with a burst of vigorous energy every time she takes the stage, Hannah Childs’ Jo March maintains the audience’s focus and commands the room with their expressive performance and passionate delivery. Balancing out the grander characters, Heather Rudolph brings an earnest and relatable quality to Meg March and her vocal talent is highlighted in their heartfelt duet with Andrew Hally’s John Brooke. Beth March, portrayed by Charlotte Smith, captures the heart of the room with a characterisation incredibly faithful to the books and a sweet duet that melts the heart of Colin Cairncross’s disproportionately aggressive Mr Laurence in Off to Massachusetts.

Rounding out the March sisters, Anna Spence brings levity to the production as the perpetual spoilt youngest child, but the pacing of the production fails to bring any semblance of depth to their relationship with Joe Purcell’s Theodore Laurence. The costumes for the entire cast are appropriate and utilised to reflect the changing nature and respective journeys of the characters – demonstrating the brilliant thought process behind the construction of the show.

The musical captures the convincing deep familial bond, which is not complete without the beloved matriarch Marmee, portrayed by Christine Mills who performs their songs with an exquisite vibrato. Audrey Jones’s Aunt March entertains with light-hearted songs and a developed character emphasising their need for control and representing the impact of societal pressures on young women. Occasionally elements of the performance veer into creating caricatures out of the personalities of the main characters, likely for time and a quick manner to introduce so many to the audience, which on occasion does trip the pacing.

But praise be to Jo Heinemeier’s direction with Hannah Fleming’s musical direction who instil a very evident passion for the musical, the pair navigating the musicals shortcomings effectively. It’s a clean set, but the utilisation of a multi-purpose piano/bookshelf is put to tremendous effect. There is a particularly touching tragedy to emphasise Beth’s innocence with a pair of dolls, furthered by Smith’s terrific performance of naivety.

Little Women is a classic for a reason, and fans of Louisa May Alcott’s work will enjoy this rendition of the beloved story with a talented cast. While newcomers, or those unfamiliar with the musical re-telling will stumble into an emotional journey, pulled together with thought and care. The level of care which always goes into Bare Productions’ work is staggeringly impressive, going well-beyond other production groups with how stories can be told, and marked with the creative integrity and brilliance they exude. Little Women, just like RENT, is an absolute triumph of performance, skill, and pure enjoyment for all involved: bravo!