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Event
Little Women
LITTLE CAST
Thursday, February 3
7:00 pm
Saturday, February 5
2:00 pm
Sunday, February 6
7:00 pm
Jo: Ava Lockwood 22
Amy: Madigan Traversi 23
Meg: Charlotte Maley 22
Beth: Izzy Weaver 23
Laurie: Uli Frick 22
Mr. Brooks: Silas Grossman 22
Mr. Lawrence: Elliot Choate 25
Mr. Dashwood: Kian Sarmiento 23
Marmie: Marlena Bennet Hall 23
Hannah: Iris Anderson 23
Aunt March/Mrs. Mingott: Pamela Gloger 24
WOMEN CAST
Friday, February 4
7:00 pm
Saturday, February 5
7:00 pm
Sunday, February 6
2:00 pm
Jo: Talulah Juniper 23
Amy: Freyja Kremer 23
Meg: Rachel Woo 22
Beth: Lilia Maxwell 25
Laurie: Ben Solomon 22
Mr. Brooks: Silas Grossman 22
Mr. Lawrence: Elliot Choate 25
Mr. Dashwood: Kian Sarmiento 23
Marmie: Jadyn Heselton 23
Hannah: Olivia Pezzullo 23
Aunt March/Mrs. Mingott: Pamela Gloger 24
Director's Notes
by Jen Coté
I have always loved the story of Little Women: Louisa May Alcott's novel, the many movie incarnations, as well as the musical, and the March sisters have always held a special place in both my childhood and grown-up heart. As much as I love the story, I have always hesitated to bring it to the stage, as I had never read an adaptation that I felt captured the impact that the book had on me, and so many young readers, when read on the page.
But then Kate Hamill, known for her bold adaptations of Jane Austins Sense and Sensibility and Pride and Prejudice, brought the novel to life in a theatrical version that is refreshingly modern, while staying true to Louisa May Alcotts beautiful characters and words. Hamill is fearless when it comes to reexamining classic tales through a modern lens. She is willing to shake up stories that we hold as precious, perhaps even too precious, and allows us to experience them in a new way. Kate Hamills mission to "reclaim" the classics has made this story truly accessible to high school actors and audiences today.
In paring down the much-longer novel in order to make it digestible for the stage, Hamill brought the themes that young audiences can relate to into sharper focus. She brings to the forefront Jo's sexuality and gender identity questions, and allows the play to end without Jo finding her happy ending in a marriage to Professor Bhaer (a story element that, when first written, may have been Alcotts concession to her literary audience, and perhaps not the future she first wanted and imagined for Jo). Hamill said in an interview, I was interested in creating a Little Women that spoke to American women today about how gender roles flatten out people's lives and how people struggle with fitting in gender roles. I was really interested in creating a central character in a classic story that LGBTQ teens and young people could see and go, Oh, people like me have always existed. I also wanted to create a story in which Jo does not give up her writing career and chooses to marry a man, which is what happens in the book.
In Kate Hamill's adaptation, I also love the interactions between the sisters, which feel truthful and reveal how love and devotion in a close family comes with a dash of jealousy, frustration and anger. The March sisters had to contend with a tricky family dynamic, but the deep love between the family is poignantly written. Even when the girls fight, Hamill makes it clear that there is an enduring and real bond between them. I felt that this script was a perfect choice for this cast of talented and fierce young women, giving them the opportunity to play the complicated, intelligent, strong March sisters, characters they can relate to, as they reconcile their own identities with society's demands. What feels so fresh and relevant in Hamill's adaptation is that she allows these familiar and beloved characters to ask an important question of audiences today: how do young women remain true to themselves while grappling with a society that wants girls to grow up to become some imaginary and idealized version of the perfect little woman?
As we contemplate yet another year of struggling to produce live theater in the midst of a pandemic, it will not surprise audiences to learn that the process of bringing this play to life was challenging and filled with setbacks, but we felt strongly that our students needed what theater brings to their lives more than ever. This is the first time that we have attempted to produce three productions in an academic year, and is the first play to be produced in a winter season at Sonoma Academy. This show also marks the first production back in our Fitzsimmons Black Box theater in two years. The journey back to performing in front of a live audience was filled with uncertainties, but what remains true is that we, as artists, find our joy and truth in the rehearsal room, and the strength that we find in the bond of the ensemble is what helps us move forward through each day.
Working with this group has brought me so much happiness and light. I so admire their talent and their wisdom, and am inspired by the humanity and dimension they bring to their roles, and their determination to see this play through to the end. Even with limited audience seating and Covid protocols, we knew that this was a story we wanted to tell, and we hoped that it would bring audiences some of the same joy that we felt in working on it, and a moments reprieve from the tumultuous day-to-day reality of living through this pandemic. Sharing stories reminds us of our humanity, and that is something that feels more important than ever these days.
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LocationThe Fitzsimmons Black Box Theater, Sonoma Academy (View)
2500 Farmers Lane
Santa Rosa, CA 95404
United States
Categories
| Kid Friendly: Yes! |
| Dog Friendly: No |
| Non-Smoking: Yes! |
| Wheelchair Accessible: Yes! |
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