Studio Theatre 
Studio Theatre, Salisbury 
Anne Waggott 
14 December 2024
”Christmas won’t be Christmas without any presents,” grumbles Jo March at the start of Louisa May Alcott’s much-loved classic. The series of Little Women books and the 1949 film version with June Allyson, Elizabeth Taylor, Margaret O’Brien and Janet Leigh were a seminal part of my growing up, to the point that this was the first line I had on stage as an 11-year-old in a school production… and Little Women has kept a special place in my heart ever since. So, I leapt at the chance to review Studio Theatre’s December production of this heart-warming adaptation by Emma Reeves about the lives and loves of the March girls and their beloved Marmee during the American Civil War. I was not disappointed… This was a charming, affectionate and faithful coming-of-age adaptation performed with warmth, enthusiasm and proficiency – a veritable pre-Christmas treat!
Director Anthony von Roretz and Assistant Director Jill Redston ensured that this production was full of spirited and authentic characters (loved the sibling spats – so genuine!), enhanced with wonderful production elements, keeping events moving at a passionate and slick pace, as they made excellent use of the different set levels and projections to keep smooth transitions between the various locations. This was no easy feat, bearing in mind how small and intimate the Studio Theatre venue is, but was skilfully achieved with panache. Octavia Clark’s projection artwork, combined with her intricate set design (with Jemma Clark), Brian Waddingham’s atmospheric lighting, Lesley Bates’ sound adding to the ambience, and stunning Costumes (Meryll Rae, Megan Greenstock and Glenda Pike), historical Hair and Make-up (Kevin Murdoch and Verona McDonald), were an integral part of this period production. Full kudos to George Fleming for her expertise as Historical Advisor and Specialist Props in ensuring truly authentic aesthetics to this production.
However, no matter how super the production elements, without the depth and quality of performances from the principal lineup, each with their moments to shine, this would not have been such a memorable, emotional and poignant production.
Martha-Rose McKeown was outstanding as feisty, fiery, resolute yet compassionate tomboy Jo, superbly capturing every side of her character with perfection and a faultless American accent; she didn’t act as Jo, she became Jo! Olivia Wordley was equally as impressive as Amy, as her character subtly, gradually and convincingly matured from the aggravating, annoying, spoilt, selfish and self-important youngest sister into a loyal, caring, steadfast, loving and lovable woman.
Sarah Derry embodied the character of Meg, a beautiful soul despite being the somewhat vain and yet sweet natured eldest sister, while Libby Richards made her Studio Theatre stage debut as quiet, thoughtful and musical Beth in a performance that demonstrated much potential for future roles. Her real-life mother, Tamsin Jacson, brought genuine warmth, empathy and strength to the role of the single mother (with her husband enlisted during the American Civil War, Marmee took on the role of both parents as she raised her girls to be caring, community-minded ladies whilst living in poverty themselves), and Jackie Pilkington’s cameo role as Aunt March, the acerbic, scathing and cynical matriarch of the family, was totally on point.
As the title predicts, Little Women had a female-dominated cast in the major roles, but this review would be incomplete without acknowledging the wonderful performance by Philipp Nikolin as the literal boy-next-door, Theodore (Teddy/Laurie) Laurence, who became such an integral part of the March girls’ lives. His character was delightful and engaging, having superb chemistry with both McKeown and Wordley as their different relationships evolved, and bringing energy, style and excellent accents to his role.
One of the strengths of Studio Theatre is the way that they nurture youth and new talent alongside experienced actors (some of whom have gone on to professional roles), as reflected by von Roretz in his programme notes. Although at times the inexperience did show, with the American accents occasionally slipping amongst some of the cast, these minor quibbles in no way detracted from the overall quality of the production. I hope the young actors and those making their debut performances for Studio Theatre are as inspired to continue with acting as that 11-year-old girl making her own debut many years ago; and that the ethos behind Studio Theatre, welcoming returning professionals as well as encouraging new talent, reminds local authorities who may want to push amateur productions to the background how crucial amateur theatre is to the future of professional shows!
