BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: January 27, 2005

LITTLE WOMEN

Back on Broadway after her Tony-winning performance in THOROUGHLY MODERN MILLIE, Sutton Foster lowers her hem-line to Nineteenth Century lengths in the new musical adaptation of Louisa May Alcott's LITTLE WOMEN, now playing at the Virginia Theatre.

Adapted by Allan Knee, Alcott's Civil War-era tale of the March sisters moves from page to stage enhanced by the music of Jason Howland with lyrics by Mindi Dickstein. Streamlined to fit neatly into a two and a half hour production, Knee manages a concise, Cliffs Notes version of the classic while the Howland/Dickstein score conveys theme and emotion.

Fresh off her success as the unflappable flapper, Millie Dillmount, Sutton Foster plays Jo March, an aspiring writer who has come to New York in 1865 to sell her stories. Staying in Mrs. Kirk's boarding house, this high-spirited youth shares her dreams and disappointments with another tenant, the level headed Professor Bhaer (John Hickok), who offers Jo constructive criticism and spares her false praise.

Soon enough, we jump back to meet the March family at their Concord, Massachusetts, home. Father is off to war and mother, Marmee (Maureen McGovern) looks after their daughters: Meg (Jenny Powers), the first to marry; Amy (Amy McAlexander), the youngest and most devilish; and, Beth (Megan McGinnis), Jo's closest sister. Though times are tough and money is tight, the March family finds strength in numbers and joy in simple pleasures

Knee's book covers the essential plot points of the novel with a wink to the numerous successful screen adaptations. We meet the various folks who add color to the fabric of Alcott's New England tapestry. Sanctimonious Aunt March (Janet Carroll) lords over the rest of the family with her wealth and independence. Next-door neighbor, Mr. Laurence (Robert Stattel), is crusty on the outside with a soft center and his grandson, Laurie (Danny Gurwin), proves a suitable match for one of the March maids, even if it's not the first one he courted.

The Howland/Dickstein score, performed with period-correct acoustical instruments, offers inspiring tunes of growth and hope, as well as heartfelt ballads of loss and longing. The first-act closer "Astonishing," amply illustrates Jo's feisty independence. "Off to Massachusetts" might very well serve one-day as a musical theme in a Bay State tourism ad. And, Maureen McGovern showcases her talents with two of the show's best numbers, "Here Alone" and "Days of Plenty."

Foster holds firm at helm of this Yankee clipper, buoyed by a fine supporting cast and steered by Susan Schulman's decisive direction. Set designs by Derik McLane and costumes by Catherine Zuber affect the homespun virtue of first edition illustrations and lighting designs by Kenneth Posner add a warm and welcoming glow. LITTLE WOMEN, wholesome and quaint family-safe Broadway fare.