Entertainment/Ticket

Thursday, Aug. 07, 2008

Stage: 'Little Women: The Broadway Musical' is a mixed bag

Acting shines in local production of Louisa May Alcott’s classic, but tunes remain an acquired taste

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A talented cast is showcased in “Little Women: The Broadway Musical,” as Blue Room Productions, a new theater company, takes the stage.

Fine acting and singing bring the four March sisters to life in this version of Louisa May Alcott’s classic story. Leah Anderson directs the play and commands the leading role of the fiercely independent Jo, the author’s alter ego.

Set in Concord, Mass., at the time of the Civil War, the story chronicles the coming of age of Jo, Beth, Amy and Meg as Marmee, their mother, copes at home while her husband is on the front.

Jennifer Blomfield is a staunch, supportive Marmee, and she has a lovely voice. Taylor Murphy- Sinclair is good as Meg, the conforming, domestic sister. Allyssa Schmitt is feisty as Amy, who’s bratty and jealous as a youngster and later becomes a world traveler with the aid of her Aunt March.

Beth, the tragic sister, is played well by Lauren Seidenberg. Dori Duke is the haughty curmudgeon Aunt March. Her comic sense lightens her scenes, and she has a powerful voice with an amazing range. Anderson is excellent as Jo, matching her body language to Jo’s strong personality and providing the energy that makes her the central figure, as she is in the novel.

The family’s cranky neighbor, Mr. Laurence, who mellows with time, is played by the ubiquitous Mike Mesker, who seems to be in nearly every area play, from “My Fair Lady” to “The Wizard of Oz.” As usual, he’s in fine form. Bryan Baldwin is good as his grandson, Laurie, who plays an important role in the lives of two of the March sisters.

Gregory Gorrindo does well as Meg’s love interest, and Brady Beckstead has an eccentric charm as Professor Bhaer, especially as he sings two insightful songs.

The sets and costumes colorfully invoke the era. The attic where Jo writes is a work of art. One of the most effective scenes is also one of the most minimal. A bare stage and a luminous backdrop suggest the seashore and an endless landscape as Jo and Beth say their goodbyes. It’s a perfect match of scene and emotion.

Shelley Malcolm is scenic designer, and Garin Sinclair is costume designer. David Beals designed the effective lighting. John Battalino is assistant director, and Judith Dunlore is musical director.

The songs in the show are not tuneful, and there are no memorable melodies. Instead, the lyrics by Mindi Dickstein drive the play as extensions of the dialogue. They are wordy, serving as conversations or expressions of inner emotions. Because they are like narration or poetry it’s important to not only hear them but to clearly understand them. Although the voices in the cast

are all strong, the orchestra in the pit is unfortunately stronger. The score by Jason Howland is generic Broadway, with strings for the quiet moments and brass for the dramatics. The eight-piece orchestra, conducted by Steven Tosh, includes a trombone, trumpet and horn. In the high points of a song the brass often comes to a crescendo, obscuring the singers’ own high notes. But when the music is mostly strings, it works well to complement, not compete with the voices. By this weekend, perhaps a remedy to the problem will be found.

The play itself, by Allan Knee, is awkwardly structured, jumping about in time and place. It’s long, and this disjointed aspect sometimes makes it drag rather than flow. And although the war is over by the end, we never find out what happened to Father. In spite of its few problems, this is a nice family show for preteens and up. It’s too long and intense for younger children.

For several members of the cast, this is a farewell performance to the Central Coast as they embark on college or career adventures. We can watch for their names on bigger stages.