Jessica Robblee adapts and directs a stirring version of ‘Little Women’

While it may have been a minute since you last read the story or watched a film adaptation of Little Women, Louisa May Alcott’s characters tend to stick in your memory.  Jessica Robblee’s adaptation for Boulder Ensemble Theatre Company is a heartfelt and stirring journey into the lives of the March sisters, brought to life by an accomplished ensemble cast whose characters gracefully share themselves, their connection and emotional depth.

In particular, the actresses who take on the beloved roles of Meg, Jo, Beth and Amy bring a palpable warmth and emotional depth to the stage, turning each character into a fully realized, relatable figure. Their performances form the emotional core of the production, elevating the story from a simple family drama to a rich exploration of love, sacrifice and personal growth.

As Meg March, the eldest sister, Heidi Carann Snider delivers a performance full of grace and tenderness. She skillfully captures Meg’s sense of responsibility, her yearning for a more glamorous life and her deep affection for her family. Her portrayal emphasizes the quiet conflict Meg feels between her dreams and the reality of her duties at home. The actor brings a subtle vulnerability to the role, particularly in her interactions with Jo, which showcase both the affection and occasional rivalry that exists between the two.

(L-R) Kate Gleason, Jenna Moll Reyes, Heidi Carann Snider, Madison Tayor and Kaylee Hawkins in ‘Little Women’ | Photo: McLeod9 Creative

A whirlwind

The standout performance comes from Madison Taylor, who embodies Jo’s free-spirited energy and boundless ambition with both fire and tenderness. Her Jo is a whirlwind of creativity, defiance and heart, capturing the essence of the character’s desire to break free from the expectations placed on women in her time. Taylor’s ability to convey Jo’s internal struggle — her fierce independence mixed with an aching need for connection — is deeply moving.

Beth March, the gentle and selfless third sister, is portrayed with an ethereal tenderness by Kaylee Hawkins. She captures Beth’s quiet strength and inherent goodness without descending into sentimentality, making the character’s eventual fate all the more heartbreaking.

Amy March, the youngest sister, is played with an endearing blend of ambition and youthful innocence by Jenna Moll Reyes. She brings a complexity to Amy, showcasing her transformation from a self-centered girl to a more mature, self-assured young woman. Amy’s relationship with Jo, filled with both rivalry and admiration, is captured with great nuance.

Madison Taylor, left, and Minh-Anh Day in ‘Little Women’ | Photo: McLeod9 Creative

A palpable connection

As directed by Robblee, the connection between the four actors in character feels palpable. The audience can sense the deep affection, playful rivalries and silent understandings that define sibling relationships. Moments of warmth between Jo, Meg, Beth and Amy are tender and real, while their collective pain, particularly in the face of loss, is powerful and honest.

Minh-Anh Day is equally compelling with his portrayal of Laurie and his broad spectrum of emotions throughout the script.  His enthusiasm and playfulness match that of Jo until he deftly tries to deal with her rejection. Kate Gleason, Matthew Murry and Erik Sandvold are accomplished in their individual performances in multiple roles – drawing distinctive lines between the different characters they portray that appears effortless.

The emotional authenticity is mirrored by the understated yet evocative set by Tina Anderson and lighting designer Mandy Heath. The muted and earthy color scheme reflects the simplicity of the March family’s life, allowing the focus to remain firmly on the characters and their emotional journeys.

The set is principally dark brown furniture pieces that are movable – manipulated by the cast as they change from scene to scene. This is accompanied by the use of fabric vertically hung or free pieces used to create scenic elements along with free-hanging window panes that frame the stage. The design is overall clever although the constant shift and change by the cast occasionally interrupts the flow of the emotion onstage.

The lighting design subtly shifts to echo the emotional tone of each scene. In moments of intimacy, warm golden hues bathe the stage and the window panes, while cooler, more somber tones accentuate moments of reflection or loss. The period costumes by Jenny Milne Wright and wigs by Diana Ben-Kiki seal the overall back-in-time feeling of the production.

The true strength of this Little Women lies in the undeniable bond between the performers. Each character is portrayed by the ensemble members with compassion and nuance, making it difficult not to become invested in their connection, their dreams, their struggles and triumphs. In the end, this Little Women is a moving, well executed production that honors the spirit of the original novel while bringing a fresh, human touch to the timeless tale.