While not all of them get equal time, each of the actors portraying the March sisters is compelling in her own way. The actors collectively do a great job, giving the audience all they need to visualize a location. The lack of walls means much is left up to the imagination of the audience as to where exactly a certain scene is taking place. The sparse set design by Wilson Chin works well, with a turntable rotating around a stationary fireplace to transition to different locations. While we get to know the sisters and Laurie relatively well, hardly any other character makes an impact. Significant plot developments come and go quickly, muting the emotional impact of those and other events.

This relatively short adaptation, clocking in at less than two hours, feels like a sped-up version of the story. Her love of art is next to nonexistent in this version, and the role essentially boils down to her malapropisms (ie, saying “piranha” instead of “pariah) and her crush on Laurie, a side plot which has a crucial ingredient that is not addressed in this play. Brooks (Alex Organ), but Amy, who is often the most notable March sister aside from Jo, is shunted to the side.

Beth is noted for her music talent and her illness, and Meg finds love with Laurie’s tutor, Mr. However, apart from Jo, Hamill tends to lump all of the sisters together, rarely giving the three others any individual moments. Jo is the leader due to her forceful personality and skill with the pen, but the others give as good as they take, especially Meg. The story depends on the audience investing in the four sisters, and in that respect, this production does a great job at showing their unique dynamic. They’re often joined by Laurie (Louis Reyes McWilliams), the boy who lives next door with whom Jo develops a strong friendship, and for whom Amy pines unrequitedly. Jo and her sisters - Beth (Maggie Thompson), Amy (Lilli Hokama), and Meg (Jennie Greenberry) - are a tight-knit bunch, acting out Jo’s plays and teasing each other constantly. As always, it centers on Jo March (Pearl Rhein), a free-spirited young woman with a love for writing whose ambitions lie far beyond simply being a wife. This adaptation, written by Kate Hamill and directed by Sarah Rasmussen, is a traditional retelling of the story with the occasional modern flourish. The timelessness of Louisa May Alcott’s novel, which was originally published in 18, is as evident as ever. In a serendipitous piece of timing, Dallas Theater Center is putting on a new production of Little Women just as the latest acclaimed film version is winding down its run in theaters.

Little women dallas