REVIEW - LITTLE WOMEN | THE LOWRY | 08/04/2025

Louisa May Alcott’s Little Women has stood the test of time as one of literature’s most beloved coming-of-age stories. Now, in a fresh stage adaptation by Anne-Marie Casey, the tale of the March sisters steps into the spotlight once more as part of a major UK tour. Directed by Loveday Ingram and produced by Lee Dean and Daniel Schumann, this new production reintroduces audiences to Jo, Meg, Beth, and Amy as they grow up against the backdrop of the American Civil War. With a blend of warmth, wit, and emotional honesty, the adaptation brings a classic to life for a new generation of theatre-goers—proving that the bonds of sisterhood, the pursuit of dreams, and the resilience of women are themes that never go out of style.

At the heart of Little Women is the story of the four March sisters—ambitious and headstrong Jo, romantic Meg, gentle Beth, and spirited Amy—as they navigate the trials of growing up during the American Civil War. With their father away at war and their mother, Marmee, holding the household together, the girls face everything from heartbreak and illness to artistic ambition and first love.

This adaptation focuses closely on Jo’s journey as a budding writer, caught between her fierce independence and the societal expectations placed on women. As the sisters each forge their own paths, we’re invited to reflect on themes of identity, family, sacrifice, and the bittersweet process of growing up. It’s a beautifully woven narrative that celebrates both the bonds that tie us together and the choices that shape who we become. the pacing can occasionally feel uneven. The first act, in particular, struggles slightly to find its rhythm, with the introduction of characters and early plot points feeling a touch hesitant and sometimes rushed. There’s a lot of narrative ground to cover, and this can result in moments that feel a little clipped or underdeveloped. However, as the story progresses, the production finds its stride—settling into a more natural flow in the second half. Emotional beats are given more space to breathe, and character relationships deepen in a way that feels authentic and earned.

Ruari Murchison’s set strikes a delicate balance between elegance and practicality, capturing the warmth of the March family home while allowing for fluid transitions between New England parlours, New York boarding houses, and European studios. Slender trees line the stage, evoking the natural world beyond the domestic space and adding a poetic frame to Jo’s ever-shifting memories.

Mike Robertson’s lighting design plays a key role in underscoring the emotional texture of the story. Warm tones bathe moments of familial comfort, while an icy palette heightens more sombre episodes—such as Amy’s fall through the ice or Beth’s decline. Spotlights and shadow are used with care, especially in Jo’s writing sequences, subtly drawing focus and echoing the introspective tone of her narration.

The costume design is richly detailed and character-driven, helping to express each sister’s individuality—Meg’s modest refinement, Jo’s practicality, Beth’s innocence, and Amy’s growing sophistication. The designs honour the period while feeling natural and lived-in, never distracting from the heart of the story.

Mathew Bugg’s musical interludes and underscoring are equally thoughtful. Gentle piano motifs and ensemble renditions of hymns add a timeless resonance, weaving through the play like threads of memory. It’s a soundscape that enhances without ever overwhelming, gently supporting the story’s emotional ebb and flow.

Grace Molony delivers a captivating performance as Jo, masterfully navigating the character’s journey from tomboyish firebrand to a more introspective young woman. Her interactions with Laurie, played with boyish charm and aching vulnerability by Cillian Lenaghan, are a highlight of the production. Imogen Elliott brings a complex edge to Amy, allowing her transformation from petulant child to poised adult to feel earned, even if her character remains difficult to warm to. Jade Kennedy’s Meg is quietly compelling, caught between traditional expectations and personal dreams, while Catherine Chalk’s Beth, though a little subdued early on, grows into her role with moving sincerity. Honeysuckle Weeks captures the strength and quiet fatigue of Marmee, balancing tenderness with realism. Belinda Lang is a scene-stealer as the acerbic Aunt March—her withering looks and sharp delivery bring much-needed levity. Jack Ashton transitions seamlessly between the roles of Brooke and Professor Bhaer, lending both men a grounded warmth that contrasts nicely with the youthful idealism of Laurie.

This production of Little Women is a thoughtful and emotionally rich interpretation that honours Alcott’s original while allowing space for contemporary reflection. With elegant design, tender performances, and storytelling that blends heart with quiet restraint, it draws the audience into the world of the March sisters with warmth and grace.

Though the pacing occasionally stumbles and Act One feels more tentative than Act Two, the heart of the story beats strong thanks to sensitive direction, an evocative design, and a committed cast. With laughter, tears, and timeless themes of family, identity, and ambition, this is a production that proves why Little Women continues to enchant audiences of all generations.

It is a production that speaks to dreamers, writers, caregivers, and anyone who has ever loved fiercely or grieved deeply.

Little Women is at The Lowry until Saturday 12th April 2025. Tickets are available for purchase through the link provided below.

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Photo Credit - Nobby Clark

*Our tickets for this show were kindly gifted in exchange for an honest review.