Thoughtprovoking drama
Production sticks with Civil War-era tradition
‘The Nether’ at Gamm is creepy yet compelling
WARWICK — Ocean State Theatre is presenting a polished, well-acted and beautifully accompanied production of “Little Women: The Musical” that should please the legions of fans for its source material, the book by Louisa May Alcott.
For those who haven’t read this classic, written in 1869 and set even earlier, in 1863-67, the show is a gentle contrast to amped-up contemporary productions. But the cast is excellent across the board, and director Ethan Paulini, an Ocean State actor making his debut as director and choreographer, keeps the show moving as we watch the March sisters grow up in their hometown of Concord, Mass.
Events take place during the Civil War, when the girls’ father is away, serving as a Union Army chaplain, so the show belongs to the sisters: Meg, the romantic; Jo, the spirited, aspiring writer, willing to push the rules on what’s appropriate for 19th century women; Amy, pretty, playful and a bit petty; and Beth, kind-hearted and sweet.
Their influences are their mother, Marmee, and Aunt March, wealthier than her chaplain-brother’s family and a lady of society. There also is the cranky, or is that misunderstood, Mr. Laurence next door, and of course, a couple of male romantic interests.
It’s a slice-of-life story, and the first act moves slowly through events of daily living, like planning a Christmas celebration in the midst of wartime deprivation, meeting the irascible Mr. Laurence, and preparing for a Valentine ball. Jo surfaces as the center of the story as she pushes ahead with her dream of becoming a writer and pushes back against Aunt March’s efforts to turn her into a lady. She turns out to be the problem solver, too, as she finds a way to raise money so Marmee can visit her sick husband in Washington, D.C.
The music, by Jason Howland, doesn’t really have a memorable number, but it suits the story, which is well told in Mindi Dickstein’s lyrics. Moreover, it’s performed with precision and energy by a small ensemble led by the talented Esther Zabinski, the music director and keyboardist.
The folks on stage not only have fine voices but know how to use the songs and lyrics to convey their personalities. Bryn Martin has a voice as sweet as her character, Beth, and shares a nice duet, “Off to Massachusetts,” with Mr. Laurence, played by Curt Denham.
In the central role, Tess Jonas makes an outstanding Jo, with her well-trained voice and acting skills. Any of the sisters could come off as stereotypes, but Jonas finds the joy, anguish, the practical and the romantic aspects of her character and creates dimension.
She’s believable, and so is Tommy Labanaris as Professor Bhaer, who Jo meets during a stint pursuing her writing career in New York City. Labanaris has the nerdy but slightly superior air of a professor, but he still can be intimidated by Jo’s determination. They are wonderful on stage as the opposites who attract.
That stage may be the biggest surprise. Recent Ocean State productions have featured realistic sets, but in this case, Paulini and scenic designer Clifton Chadick work with the power of suggestion. A series of steps and broad landings, topped with a doorway that looks more like a picture frame, serve every setting. A backdrop is draped in an interesting way and changes color with different moods or settings.
“Little Women” is an old story; even the title speaks to its era and sentiment. Cynics must put aside their default mode to appreciate it, but Ocean State is the place to do it.