Running from November 27 to January 4, the Arts Club’s staging of Louisa May Alcott’s Little Women is a heartfelt, intelligent, and beautifully considered interpretation of a classic that has lived in readers’ imaginations for more than 150 years. One of the great pleasures of this production is the way it frames the tale within Louisa May Alcott’s own life. By weaving Alcott’s personal story into the narrative of the March sisters, the play gently reminds us that the novel, in print continuously since its first publication in 1868, grew out of the author’s own experiences, her family, and her convictions. Although the production carries the title Little Women, it follows the full arc of both volumes, Little Women and Good Wives.
Lauren Gunderson’s script creates a seamless interplay between the real and the fictional. Alcott’s mother and siblings appear alongside the familiar figures of Marmee, Meg, Beth, Amy, and Jo, who also stands in for her creator at several points. The characters speak using a blend of Gunderson’s contemporary language and selected passages from Alcott’s original text, allowing the past and present to converse in a way that feels natural rather than forced. The men in the March family’s orbit, including Laurie, John, Professor Bhaer, and Mr. March, are also present and help anchor the story in its 19th century setting with its concerns about war, economic hardship, ambition, and the roles available to women.
I especially appreciated the production’s use of gentle fourth wall breaks. This technique appears not only when shifting between Alcott’s life and the events of the novel, but also within the story itself. Throughout scenes in the March household, characters occasionally speak directly to the audience in a way that clarifies time jumps, motivations, and emotional beats. What could have felt disruptive instead becomes a graceful and efficient way to keep the narrative moving without lengthy explanations or added dialogue. The result is a story that flows with clarity and confidence.
The cast brings Gunderson’s interpretation vividly to life. Elizabeth Barrett as Meg, Kate Besworth as Jo and Louisa, Ming Hudson as Beth, and Kaitlyn Yott as Amy give thoughtful and engaging performances that capture the individuality of each sister. Erin Ormond provides a warm and compelling presence as Marmee and Aunt March, while Conor Wylie as Laurie and Nick Fontaine as John, Mr. March, and Professor Bhaer offer grounded and lively portrayals. Scott Button, Paige Fraser, and Emma Rendell serve as standbys. As an ensemble, the cast creates characters who feel real and emotionally accessible, which makes it easy for the audience to care deeply about their journeys.
This production celebrates both the beloved story and the remarkable woman who wrote it. The book opens with the well known line, “Christmas won’t be Christmas without any presents.” Although the play begins differently, it ultimately becomes the present itself. What unfolds on stage is warm, generous, and beautifully wrapped for the season.
