The Subtle Beauty of Little Women: The Broadway Musical

by Nawaal Bhuiyan

Even the most stubborn of readers know and appreciate Louisa May Alcott’s classic 1869 novel, Little Women. The plot follows four sisters – Amy, Beth, Meg, and Jo March – as they navigate the absence of their father amidst the Civil War, and their subsequent coming-of-age in relative poverty in Concord, Massachusetts. While the novel itself is still widely taught and enjoyed, various outstanding adaptations have since emerged. The 1994 and 2019 films, directed by Gillian Armstrong and Greta Gerwig, respectively, breathe new life, in a new medium, to the arguably timeless source material. Starcatcher Productions’ dramatic musical is no exception, despite the impressive genealogy that precedes it.

Directed by Mona Maarabani, and gorgeously supported by the talented cast and crew of the Kahnawá:ke-based community theater company, Little Women: The Broadway Musical is a visual and sonic delight. Spanning six shows between August 23rd and 30th, 2025, and housed in the historic Centaur Theatre in Montreal’s Old Port, Sara Scarfo’s electric performance as Jo is a definite highlight. The three remaining sisters – Ainsley Tsokwenion as Meg, Angel Robertson as Beth, and Aniela Stanek as Amy – are also seemingly resurrected off the page as they titter about on stage. Each actress embodies the sisters’ unique charms, providing the scaffolding for a faithful and convincing performance. Jo is as independent and fiercely stubborn as she is in Alcott’s rendition; Meg is just as beautiful and nurturing; Amy arrives, petulant but oh so loveable; Beth’s quiet strength and musical ability is palpable. And, of course, Angela Marino as beloved Marmee is the gentle yet firm force that grounds the March little women.

Urging along the chemistry between the sisters (and with San Choi as Laurie) is the practiced synchrony amongst the orchestra, lighting, costuming, and sound and stage design teams. For instance, despite the minute nine-person band, the score is consistent and enhances key moments within the plot. The costumes and makeup appear tidy and nondescript from the back of the theater, but are in fact emblematic of not only 19th century New England, but also of a modest American family. Even the feverish subplot narrated by Jo boasts exciting and befitting attire, ranging from that of a dashing armed knight to a damsel in distress. As scenes shift and contort, the lights dim, then brighten, and often change – the candles flicker orange first, before melting into purple and pink. Bizarre, and almost otherworldly considering the setting, but combined with the hurried violin and well-draped petticoats, it makes perfect sense. Holding each element tightly together, moreover, is the expertly-assembled set, comprised of a small attic built atop a cozy living room, next to which sits a grand piano. No matter which vantage point an audience member watches from, the detail is astounding – the old wooden grain of the coffee table can be seen just as well as the leathery spine of each book. Each department deftly colludes to create a well-rounded and thoughtful experience.

The composition of the production itself also envelops the audience. Bracketed by bouts of dialogue are the musical numbers, wherein each cast member truly shines – any semblance of opening night jitters disappear as the songs by Jason Howland and Mindi Dickstein play out. Scarfo’s rendition of “Astonishing” was quite literally that; an audience favorite, no doubt, and an apt way to maintain momentum, emotionally engulf the audience, and still neatly wind down the narrative. When the tension suspends, and the musical ends, the entire full theater erupts into applause. A standing ovation for the cast and crew, a testament to their months of practice and meticulous work. Starcatcher Productions, by further adapting an adaptation, somehow maintained the heart of Alcott’s work, without compromising the creative freedom of their young, local team or rehashing clichés.