TeenTix reviews Baladeer Theatre Company’s Little Women
TeenTix KC is an organization that helps provide KC youth with access to live stage performances. As part of that work, some up-and-coming ‘Press Corps Members’ are tackling their first reviews—building up a next generation of critical, celebratory voices. Today, we’re thrilled to share Hannah Karim’s coverage of Little Women. Find out more about TeenTix here.
When I look back on The Baladeer Theatre Company’s original adaptation of Little Women by Louisa May Alcott, one snapshot sears itself into my mind: four young ladies kneeling beside a worn armchair, listening to their mother read a letter from their father and wondering if he’ll ever come home. The firelight dances across the backdrop, and the stage lights illuminate Jo’s reassuring smile, a complement to Meg reaching for Amy’s hand. I realize I’ve seen this picture before, in my copy of Little Women, but seeing it brought to life on stage seemed impossible until recently.
Little Women follows four sisters—Meg, Jo, Beth, and Amy—as they navigate adolescence, set against the backdrop of the Civil War. As their father serves in the army, the story focuses on how the girls’ paths clash with their “castles in the sky” and the shenanigans they get up to along the way. The play adaptation by Will Gurley, Savannah Dove, and Kayli Gurley was a faithful adaptation with a few impactful changes.
This rendition of Little Women came with one major change: a “friendship” ring given to Laurie by a young Jo during their first meeting at the party. Laurie cherished the ring, keeping it on throughout the play—much to Jo’s oblivious amusement—and only took it off once he moved on from his romantic love for her. There was no mention of the ring in the books, and while it was minor, the symbolic change created a ripple in Laurie’s character arc: one that’s difficult to convey without the subtle ways Isma Michel portrayed the pain of young, naive love. Watching it for myself, I didn’t understand how Little Women worked the ring into the narrative. After all, it’s a little odd to give someone a ring, especially platonically, after one meeting. In the end, though, the ring served its purpose, creating a vessel for Laurie’s growth, not just as a friend, but as a young man.
To me, this play felt like spending time with an old friend. Everything about it nodded to its source material: from Beth’s piano music playing in the background during scene changes to Amy’s indignant yet hilarious delivery of “your only beauty!” after Jo cut her hair. Indeed, it was the little details that brought the play to life. Mr. Laurence’s tiny diamond on his necktie and the delicate embroidery on Aunt March’s fabulous dress made it clear that the costume designer, Ruth Smerchek, put plenty of love and care into her work. I also loved the little changes on the main cast that distinguished their personas between Acts 1 and 2. They looked older and more mature in Act 2, and I appreciated the subtle changes to their costumes, hair, and makeup that made that possible. The scenic setup where Jo and Mr. Bhaer talk multiple times throughout Act 2 was also simple but clever; placing a door between the border curtains emphasized the “otherness” of their conversations, making it clear that those moments were special. The lighting and sound also did an excellent job enhancing the play’s details without dominating the stage.
The acting, especially, was superb. The main cast portrayed their characters so well that I, as a fan of the book, knew who was playing who after the first minute. Some standouts to me were the actresses Jo and Amy March, Kayli Gurley and Savannah Dove, respectively, who stepped into their characters’ shoes perfectly through flawless delivery and real emotion. I especially loved their chemistry with Michel’s Laurie, whose quips and gestures felt incredibly true to the character. The side characters did especially well in bringing the play to life. Allyson Hayse-Tinker, who played both Hannah and Aunt March, stole the few scenes she had with her comedic instincts and sharp wit. Professor Bhaer, played by David Boncyk, was also a very entertaining presence on the stage who did a great job of keeping the audience engaged.
This play didn’t come without flaws, however. For instance, something felt missing from the main set, the March house, throughout the play. In the books, the living room was always full and cozy, with a fireplace that was always lit and a shelf full of books. The lack of those two details slightly detracted from the otherwise impactful scenes. Another aspect of the writing I found especially disappointing was how Beth was sidelined throughout the play. She had far less agency and independence than in the books, and that especially hurt near the end of her life because I didn’t feel like I knew her well enough to grieve her. It broke my heart that the writers excluded the beautiful father-daughter relationship she had with Mr. Laurence, since that was one of my favorite parts of the book. Some parts of the play also felt slightly rushed, but not enough to detract from the writing quality.
I would highly recommend this play to any fans of the original novel, and even to those who aren’t. As I watched, it was clear that the relatively small group of actors, managers, and designers put heart and soul into Little Women, creating an atmosphere that both resonates with and intrigues the audience. Everything about it felt lively and crafted with passion, while still comforting and soothing.
One thing is for sure: this experience will live with you for a long time.
