Hackmatack's Little Women, the company's final production of the season, is the musical version of Louisa May Alcott’s much loved eponymous novel. It's a solid production throughout, but for its soaring direction, which takes this lackluster script to a better place.
Simply put, the show's book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein, just don't offer a lot beyond the novel's sentimentality, offering little for any one actor to dig-in and develop character. The musical's story is a mere sketch with pleasant but unmemorable music.
The characters are largely one-dimensional. There's the sisters - the striving, spirited tomboy, Jo (Sara Funk); sweet girl Beth (Cameron Park-Miller); aspirational, peevish Amy (Jane Clifford), and the romantic Meg (Katelin Garland) - and of course Marmee (Emily Waterhouse), a wise and loving mother who knows exactly what to say at any given time.
The male characters fare no better.
Little Women is a coming of age/romance/youth novel of its time (late 1860s).
Set in Concord, Mass., the storyline follows the four sisters as they move from childhood to womanhood, in the years during and post Civil War.
Jo believes she will succeed as a great writer someday, an idea well ahead of its time, and with all the stumbling blocks that suggests. Her three sisters also believe in Jo's dream, but for themselves follow traditional roles of their times.
There is childhood playfulness, imagined adventures, romance, tragedy, hope and for most, a final happy ending.
The upward climb for the production's artists' starts with character, a script that often lingers longer than necessary, especially during the second act and generic conversations. All that, and still somehow Director/Music Director/Choreographer Emily Zentis breathes life into the piece.
Zentis works the piece in a natural manner, and succeeds at perking up most scenes. She also imbues each role with a sense of distinction.
Zentis's staging - for example in the scene with Aunt March and Jo delivering Could You, and the entire company performing Weekly Volcano Press - squeezes every bit of life and visual interest possible from this script.
The cast really gives it their all as well.
Each of the sisters' mannerisms and body language help define their characters. Funk's Jo is spicy, and her voice strong; Park-Miller's Beth is quite endearing and sports a lovely voice. Together, the two actresses deliver a beautiful harmony in "Some Things Are Meant to Be."
Clifford's Amy is as frustrating as she should be in Act I, makes just the right transition for Act II, and adds a fine voice to the collection, while Garland, with so little to work with, miraculously gives Meg personality.
Emily Waterhouse as Marmee brings a real warmth to her character, a difficult task as written. She also adds a strong, clear singing voice.
One of the show's real boosts is the ability these five actresses have to convey true family relationships - the closeness, and the tensions.
Given Aunt March's nature, Maggie O'Neill has something to work with, and she sure doesn't let it go to waste. Her superb performance adds well needed life and humor.
Jacob J. Zentis gives a smooth, easy performance as Professor Bhaer, Jo's love interest. He also adds one of the show's finer voices.
John C. Halburt's Mr. Laurence, the grouchy neighbor, appears tentative opening weekend. But when it comes to singing he's right on point.
Heath Rawls gives a solid performance, with little aid from the script, as Laurie Laurence. His singing voice is attractive, but seemed somewhat strained on occasion.
Will Saxe as John Brooke, Meg's boyfriend/husband, does a standup job, and together with Garland delivers a warm and tender More Than I Am.
Sierra Cummings delivers a smart Mrs. Kirk, the housekeeper. The majority of double-cast actors, along with Logan Thomas Clancy as Braxton, deliver some of the play's more animated and entertaining moments during the telling of Jo's imagined tales.
Costume Designer Betsey Martel has given the piece an overall period appropriate plot. Set design by Meghan Flynn and lighting design Tayva Young are on point. The six piece band, lead by Emily Zantis goes a long way in lifting the piece - it's a great sound.
Hackmatack's Little Women offers solid visuals and performances, a fine band, and impressive direction. It's a pleasant show, in the barn, on the farm, not a bad way to end a season.
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