This blog post was written for East Midlands Theatre.
Based on Louisa May Alcott’s 1860s novel, KW Productions’ latest musical tells the classic tale of the four March sisters as they navigate romance, love, life and death. Set in Massachusetts between 1863 and 1866, amidst the backdrop of the American Civil War, this coming-of-age historical tale is full of energetic, larger-than-life characters and perfectly encapsulates the heartwarming, wholesome nature of Alcott’s novel. Directed by John Bale, the musical swiftly carries us through several years in the lives of the March family, as each of the sisters must gradually adjust to their new adult lives, and leave their childish nature behind them.
Our protagonist, and middle sister, Jo (Danielle Sanders), spends most of her time writing blood-thirsty, dangerous stories, and when we are introduced to the family in the song ‘Our Finest Dreams’, she is trying to get her younger sisters to act out her latest tale. She continually pushes away potential suitors, trying to cling on to her childhood whilst also determined to find her own way in the world without falling into the stereotypical housewife role. Sanders gives an incredibly energetic performance, with facial expressions that perfectly convey her frustration, sarcastic asides which continually draw laughs from the audience, and sudden movements that at times leave the audience a tad dizzy. In fact, the speed at which she races around the stage can be exhausting, and it is in the quieter moments when Jo is left alone in the attic that Sanders truly shines.
Eldest sister Meg (Rose Bale) is Jo’s complete opposite – excited to attend parties, wear gowns and court potential suitors. When she is swept off her feet by Mr Brooke (Dan Rowberry), they quickly become engaged, performing a sweet number called ‘More than I am’, and Meg comfortably adjusts to married life and motherhood. Bale provides the perfect foil for Sanders, and their back-and-forth during the party at Annie Moffat’s is a joy to watch. It is only a shame that Meg (and, indeed, Bale) is not given more to do during the second half, as the younger sisters take the centre stage.
As Beth, Katie Draper gives the most natural performance – whilst the other sisters can occasionally be a little over-the-top and boisterous, Draper is more down-to-earth, adding a quiet subtlety to her performance that makes for compelling viewing. Her friendship with Tony Whitmore’s Mr Laurence forms some of the most enjoyable scenes, and their song ‘Off to Massachusetts’ is a highlight – their scenes together are too brief. Youngest sister Amy (Katherine Wadd) is the most outspoken and reactive of the family – the opening act sees her engage in some ferocious arguments with Jo, which help to add some drama to proceedings. Amy undergoes the biggest change as she accompanies Aunt March (Mary Delahunty) to Europe and becomes more engaged with upper class society, and Wadd perfectly adjusts to this – when she re-appears in act 2, one could be forgiven for thinking she was playing a totally different character, although she retains Amy’s feisty nature beneath all the pomp and circumstance.
Romance arrives in the form of Tim Stokes’ Laurie and Keiran Whelan-Newby’s Professor Bhaer, who both attempt to seduce Jo at various points throughout the play. Laurie is welcomed as a fifth sibling in a fun little number called ‘Five Forever’, which is accompanied by some excellent choreography – this small-cast musical does not feature a lot of big choreographed numbers, but where choreography has been added, it is excellently performed. Whelan-Newby provides the best vocals of the evening with his rendition of ‘How I am’, whilst his final song with Jo, ‘Small Umbrella in the Rain’, might be one of the best musical love songs I have heard in a while.
The set (Lydia Clemence and Simon Dickens) is simple yet effective – recreating the March house over two stories with some clever use of stage flats painted to look like ornate wooden panelling. The musical uses projections (Joe Roberts) to set each scene, which is an interesting idea that feels a little over-used by the second act. The projections also mean that any actors on the balcony of the set have their faces slightly obscured, which can be a little distracting at times. Grace Bale conducts a six piece band which provide music throughout. As father and daughter, John and Grace clearly make an excellent team, and their expertise is clear to see – I particularly appreciated the way in which each scene smoothly flowed into the next, using simple transitions such as the movement of a sofa, or the entrance of a character, to move the story along, without the need for blackouts. This improves the pace of the musical, and, despite a long run-time of 2 hours 40, the time flies by.
Alexandra Elliott and Amanda Sadley both provide confident, assured performances as mother Marmee March and maid Mrs Kirk respectively, helping to round out a talented, engaging cast. This is a treat for all the family, and one that I would highly recommend. This musical feels like a warm and cozy nostalgic blanket, full of likeable characters and dynamic plot. The perfect tonic as we head into these colder autumn months.
Tom Morley, September 2025
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