(Spoiler alert: key plot details ahead.) Knowing how a story ends doesn’t necessarily make it any easier to watch. That’s especially true of Little Women, where laughter, heartbreak, and the complicated experience of growing up are all part of the March sisters story.
Northern Kentucky University’s School of the Arts brings those familiar emotions to the Robert and Rosemary Strauss Theater in its production of “Little Women: The Musical,” directed by Katharine Moser-Priddy. With strong performances and creative staging, the production gives audiences plenty of reasons to laugh, even when they know there are tears ahead.
Sydney Hall takes on the role of Jo March, the fiercely independent sister whose determination to become a writer drives much of the story. Hall captures Jo’s stubbornness and ambition without losing the humor that makes her character so entertaining. Her performance of “Astonishing,” the Act One finale, is particularly memorable, building into an emotional declaration of Jo’s determination to pursue something greater.
But some of the musical’s most enjoyable moments happen when the four sisters share the stage. Kylie Mobley, Lorelle Stewart, and Riley Griffin join Hall as Meg, Beth, and Amy, respectively, capturing the sisters’ distinct personalities and the affection that binds them together.
Griffin, in particular, has fun with Amy’s dramatic personality. From her childish outbursts to her mischievous expressions during the infamous book-burning scene, she embraces the youngest sister’s less admirable qualities without losing her charm. Her transition into a more mature Amy during the second act is equally effective. (Read about SOTA’s costume team.)
Stewart brings a sweetness and vulnerability to Beth without allowing her to disappear into the background. Her playful interactions with her sisters and touching duet with Mr. Laurence, played by Luc Vandenbroek, give the otherwise timid character moments to shine. As Beth’s health deteriorates, Stewart’s gentle performance makes her eventual death and the family’s grief especially affecting.
The emotional center of the production, however, extends beyond the four sisters.
Katelyn Thatcher’s portrayal of Marmee is among its most memorable performances. Despite being a college student portraying the mother of four characters played by actresses relatively close to her own age, Thatcher establishes a convincing maternal presence. Her portrayal captures Marmee’s strength while revealing the sadness, loneliness, and quiet anger beneath it.
Her vocal performances are just as impressive. “Here Alone” reveals the emotional toll of Marmee’s husband’s absence, while “Days of Plenty” delivers a heartbreaking portrayal of a mother coping with unimaginable loss. Thatcher gives both songs the attention they deserve, allowing Marmee to emerge as a character with struggles of her own rather than simply a source of comfort for her daughters.
The production also makes room for romance, with Meg and John Brooke’s relationship providing some of its most enjoyable moments. Mobley and Joshua Edwards share particularly strong chemistry, capturing the excitement and tenderness of their characters’ growing affection. Their duet is a highlight, with their voices complementing each other beautifully.
The production also finds opportunities for humor and theatrical creativity. “The Weekly Volcano Press,” in which the cast brings Jo’s outrageous fictional stories to life, provides an entertaining departure from the March family’s everyday lives. The sequence gives the performers an opportunity to embrace an entirely different style of acting while offering a glimpse into Jo’s colorful imagination.
Much of the production’s atmosphere comes from its setting. Student set designer Erikah Powers makes clever use of the black box theater, incorporating multiple locations into a single performance space. An elevated attic above the March family’s living room is a particularly effective addition, while changes in lighting help distinguish the warmth of the family home from the colder scenes that follow.
The theater’s intimate layout does have its drawbacks. Depending on where the performers are positioned, some facial expressions are difficult to see from the opposite side of the room. Still, the smaller space offers something a traditional theater might not: the opportunity to experience the March family’s happiest and most devastating moments from just a few feet away.
And perhaps that’s what stays with you after the performance. For all of Jo’s elaborate stories about adventure and extraordinary characters, the moments that carry the greatest emotional weight are the ordinary ones she shares with her family. NKU’s production gives those moments the room they need, finding plenty of humor along the way without losing sight of the heartbreak that makes “Little Women” so memorable.