The cooler seasons are setting in, and what better way to welcome them than with Anne-Marie Casey’s cosy adaptation of Louisa May Alcott’s Little Women? This touring production has landed at the Darlington Hippodrome this week, wrapping audiences in a blanket of nostalgia, warmth, and wintry charm.

Based on Louisa May Alcott’s beloved novel, Little Women follows the March sisters – Meg, Jo, Beth, and Amy – as they navigate love, loss, and the trials of growing up in Civil War-era America. At its heart, it is a tale of family bonds, personal ambition, and the tug between duty and desire, and this staging remains faithful to that enduring story.

The set design by Ruari Murchison is simple yet striking. A handful of carefully chosen pieces: a table, chairs, chaise longues, and a desk evoke the Marches’ home with surprising intimacy. It feels lived-in, warm, and quintessentially domestic, perfectly capturing the novel’s heart. Costumes attributed to the same designer, meanwhile, are both period-appropriate and aesthetically pleasing. Each sister is given a distinctive colour palette that subtly underscores her character, while Aunt March’s opulent gowns add a gorgeous contrast. The falling snow, utilised delicately throughout the production, lends not only a seasonal magic but also a practical clarity, distinguishing indoor from outdoor scenes with ingenuity. It’s a deceptively clever design choice: fluid, beautiful, and never intrusive.

Each performer embodied their character with ease, giving the March family a natural, believable rhythm. Jade Oswald’s Meg was appropriately poised and maternal, her authority quietly commanding. As Amy and Beth, Jewelle Hutchinson and Megan Richards captured the buoyant energy of youth: wide-eyed, eager, and irresistibly charming. Their playful rapport with their older sisters gave the family dynamic a real authenticity, one that was both theatrical and tender.

Juliet Aubrey Abigail delivered a heartfelt “Marmie.” Her portrayal balanced stoic strength with raw vulnerability, a mother caught between her own grief and the duty of holding her household together in her husband’s absence. The unamplified vocals added an intimacy that suited the piece, though occasionally her softer, more somber delivery risked being lost in the space.

The undeniable standout, however, was Natalie Dunne as Jo March. Fiery, witty, and emotionally expansive, she captured Jo’s contradictions: the stubborn dreamer, the reluctant caregiver, the intellectual, the furious rebel, and the tender sister, with remarkable versatility. At once hilarious and deeply moving, her performance anchored the production, both in narrative, and in emotion.

Casey’s adaptation does not seem to aim to reinvent Little Women but rather to honour its spirit. The comedy is delightfully mined, especially through Aunt March (played to perfection by Belinda Lang). Her pompous flourishes, biting dismissals, and extravagant costumes made her every entrance a joy. Where the production shines comedically however, it falters slightly in its emotional crescendos. The climax of Act Two, Beth’s death, was visually stunning, lit with ethereal brightness, her upward gaze suggesting a corporeal transcendence. Yet by relying almost exclusively on lighting to convey this pivotal moment, the scene felt underpowered. A bolder, eruptive, more explicit staging, paired with stronger familial reactions, might have elevated the emotional resonance to match the production’s otherwise authentic tone.

Despite occasional emotional flatness, this Little Women remains a tender, comforting, and visually gorgeous piece of theatre. It’s faithful without feeling stale, witty without being frivolous, and ultimately offers the perfect antidote to a chilly autumn evening. A glowing, heartfelt welcome to the season.

Little Women is running at the Darlington Hippodrome until Saturday 20th September 2025. Get your tickets here!

Image credit – Nobby Clark