Written in 1868, denigrated by male readers including her editor and the luminary T S Eliot, Louisa May Alcott's Little Women has remained a firm favourite with teenage girls for well over a century and continues to please.
The current touring play version of the novel, adapted by Anne-Marie Casey, directed by Loveday Ingram, could possibly have been more help in distinguishing one daughter from another at an early stage in the play since all seemed to share similar characteristics.
The March family is based on Alcott's experience of growing up in a Transcendentalist family who believed in "the inherent goodness of people and nature" and, in Jo's view, that it would be best for a woman not to depend on marriage but become self-reliant and independent. The actual as well as fictional family are poor but aware that there are others poorer and more needy than themselves. Visiting the sick leads to Beth's long, drawn-out but inevitable death, and Marmee also succumbs to illness but survives.
It is Marmee, as well as Aunt March, who lays down firm rules for her daughters' behaviour, and these family values are also asserted by eldest daughter Meg. But Meg is content to marry a poor man and devote herself to her family, Jo is much more interested in proving herself as a writer, Beth doesn't survive her charitable work, so it is left to Amy to acquire suitable comportment, elegant clothes and a rich husband who will support the family.
As Jo, Grace Molony gives a spirited performance and a role model for the current generation of teenage girls. The emotional range of the performance is considerable, from her uncontrolled fury when Amy destroys her work, to her heartfelt grief when Beth passes away and her pleasure in the late relationship with Professor Bhaer who appreciates and encourages her writing.
As Beth, Catherine Chalk has a challenge with the presentation of a character who has little to say and little involvement in family interaction. In the novel, we are made aware of Beth as a continuous presence and a close relationship with Jo. In the stage version, it is only on her deathbed that she is allowed a voice. Jade Kennedy's Meg succumbs to vanity in the early ballroom scene but becomes a serious and responsible older sister who settles for marriage and the values of family life.
Imogen Elliott is an uninhibited Amy. Her cold revenge leading to the destruction of Jo's manuscript is followed by a recognisable remorse when she realises how distressed her sister is. An effective sequence of stage effects cleverly shows us Amy falling through the cracking ice and nearly drowning. As Amy matures, Imogen reveals the sophisticated and elegant young woman she has become.
There are good performances from the two men in the cast. Cillian Lenaghan is a convincing Laurie whose bitterness when rejected by Jo leads to a period of destructive self-pity from which he is rescued by Amy. Jack Ashton plays two roles. He contrasts John Brook, who becomes Meg's husband, with the German-accented Professor Bhauer and establishes a convincing rapport with Jo as their relationship warms.
Belinda Lang is an assertive and bullying Aunt March who knows how her money can lead to control of dependent relatives. Lang's first appearance is dominating and adds an element of humour to the production. Unfortunately, Honeysuckle Weeks was not available to play Marmee at the press performance. Ellie Pawsey stepped in and covered the part more than adequately, but Pawsey looked as young as her daughters, which contributed to the confusion at the beginning of the show.
There are some audibility problems on the large Lyceum stage which could be helped if the actors played out more. But this interpretation was obviously enjoyed by the target audience who have probably read and enjoyed the novel.