The touring production of Little Women at His Majesty’s Theatre in Aberdeen offers a heartfelt and intimate retelling of Louisa May Alcott’s classic. Directed by Loveday Ingram, the focus is on the deep connections between the March sisters, with emotionally rich performances and a stripped-back design that highlights the warmth of the family’s bonds. This fresh take on the beloved story captures both the joy and sorrow of growing up.
Belinda Lang as Aunt March is a sharp-witted delight, injecting much-needed levity into the production with her shrewd observations and shrill tones. Her every entrance brings a lift in energy – the audience visibly perked up, eager to hear what cutting remark she’d deliver next.
Abigail March was played by cover Elle Pawsey on the night, and she delivered a composed and heartfelt performance as Marmee. Stepping into such a central role is no small feat, but Pawsey brought a grounded warmth to the character, anchoring the March sisters with quiet strength.
Jack Ashton impressively takes on the dual roles of John Brooke and Professor Bhaer, bringing warmth and nuance to both. As Brooke, he shares a gentle, believable chemistry with Jade Kennedy’s Meg, making their romance feel authentic and sweet. As Professor Bhaer, he offers a grounded, sincere contrast to Laurie’s youthful exuberance, making his bond with Jo feel earned and heartfelt. Ashton’s performances are understated yet deeply likeable, anchoring the show with charm and calm assurance.
Grace Moloney as Jo March delivers a powerful and emotionally rich performance, embodying the character’s fierce independence and restless creativity with remarkable nuance. Her emotional depth is especially evident in quieter, introspective moments, whether wrestling with grief, ambition, or heartbreak, giving Jo a layered humanity that resonates deeply. Moloney balances Jo’s defiant spirit with a tender vulnerability.
Cillian Lenaghan’s Laurie is lanky, impulsive, and full of charm, embodying a young man caught between boyhood and maturity. His playful energy and emotional vulnerability make him both endearing and frustrating, perfectly reflecting Laurie’s journey as he grapples with unrequited love and growing up.
Jade Kennedy brings a warm and steady presence to Meg March, effortlessly portraying her as a second mother to her younger sisters. With grace and maturity, Kennedy balances Meg’s nurturing nature with her own personal desires, giving a gentle but impactful performance.
Catherine Chalk gives a beautifully delicate performance as Beth March. Quiet and gentle, she brings a soft emotional core to the production, her presence often speaking volumes without the need for words. Her bond with each sister feels genuine, but it’s her connection with Jo that resonates most poignantly, making Beth’s fate all the more heart-wrenching.
Imogen Elliott brings a charmingly bratty energy to Amy March, capturing the character’s youthful arrogance and ambition with flair. Elliott plays Amy’s growth with care, allowing the audience to see her maturing without losing that spark of mischief that makes her so endearing.
Loveday Ingram’s thoughtful direction of the connection between the March sisters and their mother shines through as the heart of the story. However, this gentler, relationship-driven approach slightly dulls the impact of some of the story’s more emotional moments. By steering away from the autobiographical threads of Louisa May Alcott’s own life, including the omission of Jo’s publishing triumph, the adaptation misses an opportunity to fully explore the play’s themes of female agency and creative independence.
At times, the production suffers from pacing issues, with some emotional beats between scenes lingering just a little too long, pulling the audience out of the story’s momentum. While Little Women is undeniably rich in plot, these slower transitions occasionally made the show feel longer than necessary, disrupting the otherwise heartfelt flow of the narrative.
Ruari Murchison’s set design for Little Women is minimal but evocative, with scattered furniture pieces that seamlessly serve multiple purposes across the production. This stripped-back approach allows the performances to breathe while suggesting a lived-in world. Tall birch trees are scattered across the stage, conjuring the sense that the March family home is nestled deep within the woods, giving the piece an earthy, almost storybook charm. Mike Robertson’s lighting beautifully complements this aesthetic – casting long shadows across the trees to heighten mood and intimacy. Key emotional beats are sensitively highlighted through sharp spotlighting, particularly effective during Amy’s cold dip into the lake, where the lighting adds real tension and visual poetry.
Mike Ashcroft’s movement direction adds an extra layer of emotional expression, bridging the gap between period drama and present-day storytelling. Through stylised transitions and fluid ensemble moments, he creates a sense of constant motion that keeps the world of the March sisters feeling alive and dynamic.
Despite the occasional dip in pacing and the softening of some of the novel’s more impactful messages, Little Women at HMT remains a tender and visually poetic production. Grace Moloney’s commanding turn as Jo leads a talented cast that brings humour, heart, and depth to the March family’s journey. With inventive direction, evocative design, and a deep appreciation for the novel’s enduring themes, this production invites audiences to reflect on love, loss, ambition, and what it means to grow up – together.
Little Women is running at His Majesty’s Theatre from the 14th-17th May 2025. Get your tickets here – https://www.aberdeenperformingarts.com/whats-on/little-women/
Theatre Scotland 
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