This play was a perfect embodiment of the spirit of theatre
This coming-of-age story, adapted by Emma Reeves, ultimately directed by Tehya Sutton, saw the March sisters’ journey from girls to women portrayed beautifully. Taking place at the Tapyard in Byker, on both nights, the immersed audiences were transported back to the American Civil War. Before even taking their seats, the audience was met with table displays of photos and items from the March household, which instantly invited the audience to personally connect with the March sisters’ endearing familial dynamics.
The production team, under the leadership of Saoirse Murphy, with the set and costume design, were able to capture the warmth of the March household while highlighting the underlying context of the family's struggles with genteel poverty. The set was stripped back with minimal furnishings, which allowed the audience’s attention to focus on the raw emotion of the plot as it unfolded. Each character was costumed appropriately for the period, their age and social class. Being a powerful motif throughout to signify changes in the characters’ demeanours, such as the sisters’ evolved maturity by the end of the American Civil War.
The set was stripped back with minimal furnishings, which allowed the audience’s attention to focus on the raw emotion of the plot as it unfolded
The directing and acting allowed each of the March sisters’ stories to develop individually in a way that allowed the audience to clearly understand the distinct outcomes for each sister. The main protagonist, Jo, was played by Jayden Haims. She was able to encapsulate the charming wit and incandescent independence with her role as a nurturing sister and passionate writer who aims to challenge the dominant gender social narratives of the period. Her delivery of Jo’s iconic rejection of Laurie’s proposal captured the character’s balance of consoling Laurie (played by Charles Page) while staying true to her love of her independence.
Meg was played by Grace Sutherland. She was able to embody the delicate temperament and maternal instincts of the oldest March sister. Moreover, she tremendously captured Meg’s internal conflict of desiring a wealthier life despite her family’s poverty. Her portrayal of her marriage with Brooke, played by Isaac Sands, made this a defining moment of the play. Both vividly communicated to the audience that she had accepted a happy, humble life over materialism.
The directing and acting allowed each of the March sisters’ stories to develop individually in a way that allowed the audience to clearly understand the distinct outcomes for each sister
Beth was played by Abigail Huxley-Binns. This actress displayed the kindness and empathetic nature of Beth, as the sister who tries to mediate conflict. In particular, she was able to invoke an emotionally commanding presence over the audio in her heart-wrenching display of Beth’s defeat to Scarlett's fever. Her death was a stark reminder of the harrowing conditions the Marche's lived in, but also underpinned the themes of resilience and familial love.
The youngest of the March sisters, Amy, was played by Bella Skelton. Bella personified the emotional maturity of Amy’s character from a self-centred and petulant girl into a distinguished, self-assured young woman. Personally, I felt she was able to present Amy’s tumultuous relationship with Jo brilliantly. Especially in how she callously and impulsively burned Jo’s manuscript.
Charles Page, who took on the role of Laurie was able to highlight the distinction between his character’s platonic love and romantic endeavours. The wide-ranging emotions from his character’s distraught reaction over his rejected proposal to Jo and finding purpose through his loving marriage to Amy was communicated to the audience very clearly.
She (Abigail Huxley-Binns) was able to invoke an emotionally commanding presence over the audio in her heart-wrenching display of Beth’s defeat to Scarlett's fever
Charlotte Hulme as Mrs March (‘Marmee’) captured the mother figure’s loving and gentle presence in the family. This was remarkably contrasted by Charlotte Kenyon as Aunt March and Emma Hotchkin as Aunt Carol. Who together were a regal yet judgmental duo who were able to cause friction between the sisters.
Freya Hume portrayed by Sallie and Charlotte Nicholson as Belle, also skilfully engineered an element of conflict in the play given how they socially alienated Meg. Finally, the male characters of Bhaer played by Claudio Cerne, Fred played by Nathan Guest, and Ned played by Charlie Crabtree – all added a comedic aspect to the classic, allowing the audience to escape from the somewhat bleak lives of the March sisters.
Tehya Sutton truly created a new standard for university performances of theatre classics with her exquisite showcase of Little Women
Tehya Sutton truly created a new standard for university performances of theatre classics with her exquisite showcase of Little Women. This play was a perfect embodiment of the spirit of theatre. A play where the audience can sense that the director has brought fictional characters to life through genuine enthusiasm from the cast and crew. As someone who had never consumed any Little Women media before this, I can now confidently say it is one of my favourites.