Playwright: Bob Knuth, adapter. At: Circle Theatre, 7300 W. Madison, Forest Park. Tickets: 708-771-0700; www.circle-theatre.org; $20. Runs through: Jan. 24
Boys read Treasure Island. Boys didn't read Little Women, not even future gay boys, so I've never read this 140-year-old classic. More surprisingly, I've never seen any of the numerous previous stage, screen and even opera incarnations, so to Little Women I'm as virginal as the March Sisters.
In some hands, Little Women easily might become cloyingly sentimental or, worse, overarchingly Christian. Circle Theatre presents it as a holiday show, but nonetheless avoids the pitfalls of bathos and piety. Based on Part I of Louisa May Alcott's novel, it narrates a year with the March family of Concord, Massachusetts during the Civil War, with particular focus on adolescent sisters Meg and Jo and secondary focus on younger sisters Beth and Amy.
Despite small deviltries, the March girls are bright, attractive, dedicated young women blessedly surrounded by adults of both sexes who are every bit as warmly, generously, unbelievably good as they are. Even the token adolescent boythe handsome and rich Laurieis a virtuous paragon of sensitivity and stylish clothing. Alcott gives the girls highly individual personalities and this is the saving grace of a work that otherwise lacks sustained dramatic conflict beyond Meg and Jo's slowly evolving love lives. And despite Jo's independent and tomboy nature, one really can't make her ( as some have tried ) into a proto-feminist or crypto-lesbian. Hey, Alcott married Jo off in Part II.
So the challenge for any stage adaptation is to keep it interesting. Adapted ( and directed and designed ) by Bob Knuth, Circle Theatre's new version is about half way there with most of the problems in Act I. At 90 minutes, it's too long and also is highly episodic with too many scenes of self-contained incidents that don't contribute to a longer story arc. Subtitled "A Play with Music," this version uses mid-1800's Christmas and secular songs to bridge the many scenes, with a few sung by the cast. The music provides atmosphere but isn't intrinsic to the story, although there may be ways to integrate more diverse period music.
As usual at Circle Theatre, the design elements are first-class. Knuth's cozy March house is Victorian Italianate rather than a more likely Early Federalist style, but Knuth's details of wallpaper, wood trim and even random-width floorboards are dead-on. Patti Roeder's costumes are brilliant in cut, color and pattern from hoop skirts to bonnets, from kid gloves to spats.
The show is anchored by the good-looking trio of Laura McClain, Kieran Welsh-Phillips and Jeremy Myers as Meg, Jo and Laurie respectively, delineating adolescent turmoil with charm. Caring support comes from Anita Hoffman ( Marmee ) , Kevin Anderson ( Brooke ) , Jill Sesso ( Beth ) and ringletted Abigail St. John ( Amy ) . Mary Redmon is a droll scene-stealer as Aunt March.