Village Theatre's polished "Little Women" no match for classic book

Theater Review |

Jo dashes off cloak-and-dagger tales. Amy covets ribbons and bows. Dutiful Meg is, well, dutiful. And shy Beth is selfless and frail.

So it is in the treasured novel "Little Women" by Louisa May Alcott, and in the long-brewing new musical based on it, which the Village Theatre has workshopped and now is presenting in completed form.

There are a slew of plays, films and at least one opera based on Alcott's classic novel of Civil War-era sisters in New England, based partly on Alcott's own youth.

And the Village's "Little Women" is sincere, boasts some good performances, and has pretty choral harmonies rippling through composer Kim Oler's score (which won a coveted Richard Rodgers Award).

This is certainly better than Broadway's lackluster 2005 musical of "Little Women," seen also at Seattle's Paramount Theatre — and which Oler and lyricist Alison Hubbard were set to score, until replaced by another team.

But their own polished and family-friendly outing turns a lively saga into a sweet, bland dish of vanilla pudding. One that takes 2 ½ hours to consume.

The show's book by Sean Hartley focuses mainly on domestic and romantic matters in the March household. It swiftly establishes the sisters' basic personalities, with the headstrong feminist Jo (played in hearty voice and high spirits by Victoria Huston-Elem) dominating.

On Bill Forrester's mixed bag of period sets, and under Daniella Topol's direction, the siblings and their angelic mother Marmee (Anne Allgood) keep the home fires burning while their nice father (Brian Higham) is off ministering to the war-wounded.

Times are tough, and squabbling plentiful. But Shanna Marie Palmer's Amy turns from selfish brat into a poised young woman. Krystle Armstrong's Meg stays steadfast. And Michaela Koerner's sickly Beth wilts away — after singing the schmaltzy ballad,"Hold on to Me."

As for the suitors, Meg's John (Christian Duhamel) is weirdly nebbishy, while Chad Jennings appears too young to be Jo's older beloved, Professor Bhaer.

Fortunately, Dane Stokinger infuses Laurie, a neighbor who falls for two March sisters, with warmth, good cheer and sex appeal.

The show perks up whenever Stokinger is singing, sparring and roughhousing with Huston-Elem's Jo. And his robust hopeful-swain number, "Fly At Me" is a musical high point.

But the show's lack of spice and variety, musically and dramatically, keeps it bubbling at a low heat. And Broadway musical conventions may not be the right fit for Alcott's Victorian-era tale of strong-headed, stouthearted girls.

That's not to say modern girls, maybe 12 or younger, won't enjoy the show. But do remind them that it can't replace the childhood thrill of reading Alcott's delectable novel, from cover to cover.

Misha Berson: mberson@seattletimes.com