Taking a text of both sentimental and literary value to the theatre is no easy task. Enjoying literature and theatre myself, it is always interesting to see how these performances are received by both people well-versed in the world of ‘the classics’ and those anew.
Theatre Royal Drury Lane’s Jo: The Little Women Musical is one example of a transformation of a literary phenomenon. It has received both raving and adverse reviews. Focusing on the boisterous sister, Jo, a 27-piece orchestra underscores Louisa May Alcott’s much loved classic to create a stripped-back production full of relationships, nostalgia and ambition. The 42-track performance at times seems to focus more on family appeal and its heart-warming nature, leading to a lack of raw emotional depth of character that should sit at the heart of Alcott’s story. Coming-of-age stories are built on the complexities of ever-changing characters and after listening to Jo I was left wanting more, something more authentic—more of a sense of the passionate, nonconformist Jo that struck me as a tween when I first read the book. I was keen for a bit of the character we encounter in Greta Gerwig’s 2019 film when Jo was unapologetically driven by her desire to write.
Scenes that were central to the shaping of Jo’s character and life-story seemed surface level and pantomime-like. ‘The Life We’ll Know’ focuses on the iconic confession ‘Teddy’ makes to his beloved Jo seems to fall flat (although not at all vocally) at a time of intense emotional outpour and frustration. There is also no doubting Laura Benanti’s vocal prowess as Marmee, with seamless vocal layering, but still it seems to only scratch the surface of what makes these sisters such comforting characters to so many generations. It has led me to question, can a ‘classic’ piece of literature ever be taken to the stage without criticism from those who deeply enjoy and know the texts from childhood?
It is certainly not easy. Kait Kerrigan’s musical production The Great Gatsby left me feeling satisfied in a way Jo could not. One of my favourite ‘classics’ had been taken to the theatre in a way that seemed exciting and new, whilst keeping the integrity of a book of such high literary merit. It spared no expense in capturing the roaring 20s and the “beautiful little fools” that partied within it—from the lavish ‘New Money’ track to Jeremy Jordan’s emotive ‘For Her (Reprise)’: Gatsby was amazing.
Bringing these classical works of literature into modern spaces will always be an important pursuit, but the question is whether, as a viewer, you believe the novels you love have been transformed or compromised as a result of these theatrical efforts.
Image by Boston Public Library via Flickr