Molly Dennighoff in Little Women (Cory Weaver)
Louisa May Alcott’s 1868 novel Little Women has seen numerous adaptations since its publication, including getting the Broadway musical treatment. Despite debuting 20 years ago in 2005, it’s taken that long for that musical to see its professional premiere in Kansas City. Fortunately, the version currently onstage at Music Theater Heritage was worth the wait.
Little Women, with its book by Allan Knee, lyrics by Mindi Dickstein, and music by Jason Howland, tells the same overarching story as Alcott’s book, though its focus has shifted somewhat. Here, we get the tale of the four March sisters (and their mother, their suitors, and other key figures in their lives) told distinctly through the perspective of the second eldest, Jo (Molly Denninghoff). Jo was arguably the standout character of the novel (at least in the hearts of many young readers) but Alcott gave time and weight to each girl, infusing them all with deep nuance. In this version, Jo is the only sister whose character is developed to its fullest. Meg (Madoka Koguchi), Beth (Maurissa Cunningham), and Amy (Haley Knudsen) are largely reduced to outlines of their characters, presented primarily through Jo’s memories of their youth. Still, a strong cast and plenty of heartfelt, funny, and otherwise charming moments are enough to make us care about each—especially for audience members who arrive already endeared to the characters as written by Alcott.
The musical centers strongly on Jo’s journey to become a writer. We open on her as a young adult, newly living in New York, pitching “blood and guts” stories to magazines—brought to life onstage by her sisters and the rest of the company—and reminiscing about her childhood in Concord, Massachusetts. The character’s grand ambitions and plainspokenness translate well to the musical format, a woman with big dreams and a practical nature who says exactly what she’s thinking at any moment. “I only know I’m meant for something more/I’ve got to know if I can be/Astonishing,” Jo sings in an emotional first act-ender. Denninghoff is phenomenal in the role, a headstrong force of nature with a commanding presence.
The backdrop crafted for the play is beautiful in its simplicity. Gabrielle Roney’s set consists of a simple low platform, amorphous in shape, cloud-like. Streams of sheets of writing paper hang from above upstage. Shelbi Arndt’s lighting is dreamy and transportative. The entirety of the musical accompaniment is provided by music director Ty Tuttle on piano, placed right in the middle of the action. As for the music itself, Little Women doesn’t have any standout hits, but the songs are lovely and melodic, and the simplicity of a sole piano only enhances their charm.
Of all of Little Women’s adaptations, of which there have been many, the musical may be one of the least technically faithful in terms of its scope and focus. But the heart of Alcott’s novels remains strongly intact, as does its power to thrill and charm its audience. In translating the story to the stage, director Emily Shackelford and her team at MTH have created something wonderful.
“Little Women” runs through March 2 at Music Theater Heritage at Crown Center, 2450 Grand Blvd. For more information, visit musictheaterheritage.com.
