LITTLE WOMEN, THE MUSICAL, Hale Centre Theatre, West Valley City, through April 7 (984-9000), running time: 2 1/2 hours (one intermission)
WEST VALLEY CITY — This recent Broadway musical version of Louisa May Alcott's classic novel, "Little Women," written nearly 140 years ago, touches on such themes as family values and self-reliance, along with healthy doses of sibling togetherness and rivalry.
The script by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein stay close to the original material. The melodic score, especially, reflects the period. (This is not a jarring "rock" musical.)
For a musical, this has a relatively small cast — just 11 players, nine of whom play dual roles (the Saturday matinee cast included one performer from the alternate cast) — and they're all strong singers and actors. Director Tamara Adams has some of the Wasatch Front's best talent onstage.
Nicole Walton has energy to spare as Jo March, the most spirited and outspoken of the four March sisters, living in Concord, Mass., while their father (never seen) is serving as a chaplain during the Civil War. Jo is sort of the Katherine Hepburn of her time, stubbornly avoiding genteel etiquette of the day and hell-bent on doing her own thing. (And Hepburn played the role in the 1933 film.)
While Jo is constantly stirring things up, the glue that holds the struggling family together is Marmee, their loving mother, played beautifully by Maurie Tarbox.
The other three March girls are well-played by Rachel Lynn Woodward (Amy), Katrina Nelson (Meg) and Kylee Janis (Beth).
There are also strong performances from Linda Jean Stephenson as stuffy Aunt March, J. Aaron Hales as immensely likeable Theodore "Laurie" Lawrence III, Mark Knowles as Professor Bhaer, Stephen McBride as the not-quite-cantankerous neighbor, Mr. Lawrence, and Clayton Barney as Laurie's tutor, John Brooke.
Those familiar with the beloved story can rest assured there are no surprises. The plot carefully blends familial love, tender romance and tragedy with three happy endings at the windup.
Jolene Ashcraft's exquisite period costuming, Andrew Barrus' scenery, Marylyn May Montgomery's choreography, Spencer Brown's lighting, Kelly DeHaan's musical direction and Mike Williams' sound are all first rate.
While most of the production is set in Concord, there are also quick, seamless shifts to a boarding house in New York City, the Cape Cod seashore and the atrium at a Valentine's ball.
The one major drawback during the opening weekend's matinee was that the orchestral score was frequently way too loud. I also heard some complaints about Jo wearing slacks, but co-director John Adams said this was based on costuming in the Broadway production. Jo is adamant that she is not a "gown" type of girl, and her slacks define her nonconformist attitude.
Overall, "Little Women" largely succeeds due to the melodic score and the poetic lyrics, which definitely drive the story.
E-mail: ivan@desnews.com