Daniel Shock has a lot to say about “Little Women” the play

By DANIEL SHOCK
A Seat on the Aisle

I have never read Little Women. But I fell for Little Women in 1994 when Winona Ryder and Susan Sarandon brought it to life on screen. That movie hit me just right – a story about a family of wildly different personalities who love hard, fight hard, and somehow come out stronger in the end. I still haven’t seen any other adaptation until last night – not the musical, not the other films. I’m not sure why, but that one film from the ‘90s feels like mine, like my generation’s Little Women.

At its heart, Little Women is the coming-of-age story of the four March sisters – rebellious and ambitious Jo (Emily Haus), gentle and nurturing Meg (Emma Gedig), sweet and fragile Beth (Lizzie Schultz), and fiery and dramatic Amy (Natalie Piggush) – as they grow up in Civil War-era New England under the care of their wise and loving mother, Marmee (Mary Garner), while their father (Rob Lawson) is away at war. Alongside them are their wealthy and charming neighbor, Laurie (Gideon Roark); his reserved tutor, John Brooke (Samuel Smith); their sharp-tongued Aunt March (Christina Burch); and Jo’s unlikely intellectual companion, Professor Bhaer (James Semmelroth Darnell). The story follows their joys, heartbreaks, and triumphs as they navigate family, love, ambition, and loss.

Let’s start with the big complaint: the sound. From the very first line, there were problems. The actors were all miked, and while dialogue was sometimes clear, it was often distorted by interference or other extraneous noises. Worse, the sound design in the venue lacked directionality or subtlety – it felt flat, making everything seem like it was happening on the same plane. Sometimes one actor would sound perfectly fine, while another in the same scene would suddenly seem like they were broadcasting from an old-time radio play. I suspect this isn’t the fault of the actors, but rather inconsistencies in the microphones.

Frankly, I think this show (and others in this space) would be better if the actors simply projected without microphones. As distracting as the sound issues were, though, the Little Women story is strong enough to overcome them. The relationships, the warmth, the struggles – all of it still draws you in.

(Clockwise from lower left) Natalie Piggush as Amy, Emily Haus as Jo, Mary Garner as Marmee, Emma Gedig as Meg, and Lizzie Schultz as Beth. (Photo by Rob Slaven / IndyGhostLight.com)

The absolute highlight for me was Emma Gedig as Meg. She was so natural and grounded, it felt like she could’ve walked right off the ‘94 film set and onto this stage. Emily Haus as Jo brought the right mix of humor and attitude, nailing the character’s rebellious streak without ever feeling forced. Natalie Piggush as Amy also had an entertaining oddball streak, landing moments of humor even in serious situations. And Lizzie Schultz as Beth captured her character’s fragility and sweetness so effectively that there were definitely some teary eyes in the audience. The four sisters were beautifully cast.

Among the supporting cast, Rob Lawson shined as Father, radiating warmth as a man who had been away from his children for too long. Mary Garner as Marmee had a gentle, maternal presence, and Christina Burch as Aunt March added her own quirky humor to the mix. The young men – Gideon Roark as Laurie and Samuel Smith as John Brooke – grew into their characters as they became more entwined with the family. The one performance that didn’t fully land for me was James Semmelroth Darnell as Professor Bhaer. While he played the role well, the chemistry between him and Jo didn’t quite feel like it belonged in the same story.

Director Barcia Alejos’ technical team did a respectable job bringing the world of Little Women to life. Jay Ganz’s and José Alejos’ set was sharp and well-crafted, and Karissa Henschen’s lighting was simple but effective – except for one unintentional comedy moment when the lights came up early on a stagehand, who gave the booth a look we’ve all seen (or given) before. Just keep moving, my guy. Costumes, designed by Jillian Fleck, Emma Gedig, Barcia Alejos, and Daniel Alejos, were solid overall, with a few standout pieces – Amy’s Act III dress, for example, was particularly striking. As for the sheer number of hoop skirts? It felt like maybe there were two or three too many.  But what do I know?

The best compliment I can give this show? I never once checked the time. The story moves along so well that I was fully engaged from start to finish. Little Women is one of those tales that overcomes any technical flaws because the heart of it is so strong. More than anything, this cast genuinely seems to adore one another, and that connection shines through.

If you love Little Women as I do, you should take the time to see this production. You won’t be disappointed. The Belfry Theatre’s Little Women runs through March 2 at Noblesville First United Methodist Church, 2051 Monument St. Showtimes are 8 p.m. on Feb. 27 and 28 and 2 p.m. on March 1 and 2. Tickets are $20 for adults, $15 for students, military, and veterans, with a special $10 ticket night on Feb. 27 – which is a pretty sweet deal.

If this story is close to your heart (or if you just want to see a classic done well), grab your seats now at thebelfrytheatre.com or call/text (317) 773-1085.

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