An Astonishing Production of Little Women

by Gabriella De Brequet

Little Women the musical, with book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein, is based on the 1868 novel of the same name by Louisa May Alcott. It is a coming of age story about sisters Jo (Erin Recuparo), Meg (Diana Ouradnik), Amy (Kelly Coates), Beth (Kate Scally Howell), and their Mother Marmee (Korby Myrick). While their Father is fighting in the war the girls find love, discover their callings, and evolve together as a family.

Kate Scally Howell as Beth, Kelly Coates as Amy, Erin Recuparo as Jo, Korby Myrick as Marmee, Diane Ouradnik as Meg. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

Kate Scally Howell as Beth, Kelly Coates as Amy, Erin Recuparo as Jo, Korby Myrick as Marmee, and Diane Ouradnik as Meg. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

The musical is lead by Jo (Recuparo) the headstrong sister whose passion for writing drives the narrative. Themes of female empowerment and female camaraderie resonate throughout the play. Each Sister is uniquely different from one another and this allows the audience to find a little bit of themselves in each sister. It’s refreshing and timely to see dynamic female characters such as these headlining the narrative. This heart felt production will astonish you!

The vocal performances were impressive and well adjusted for the space. Recuparo’s Jo was passionate, dynamic, and strong. The audience had the great pleasure of watching her evolve from start to finish right before our eyes. Howell’s Beth was bright, kind, and humble. Her performance will break your heart. Ouradnik’s Meg was thoughtful and funny. Coates as Amy was hilarious and brash. Jeremy Vega’s Laurie was sincerely honest and youthful. Ruben Rosthenhausler’s Professor Bhaer was sweet, and comical. Perhaps the most poignant performance for me was Myrick’s Marmee. Myrick’s vocal performance brought me to tears more than once, and her characterization of Marmee was rich, and selfless. The entire ensemble really blew me away. There was not a single weak link in this strong chain of actors.

Erin Recuparo as Jo, Kate Scally Howell as Beth, Diane Ouradnik as Meg, and Kelly Coates as Amy. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

Erin Recuparo as Jo, Kate Scally Howell as Beth, Diane Ouradnik as Meg, and Kelly Coates as Amy. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

The set design was impressive considering the size of the small venue. The stage has a circular center which rotated. The rotating element helped illustrate the passage of time, growth, and change. The lighting design was vivid. At times I felt that it was too vivid for the space but it remained consistent throughout the play and it wasn’t too distracting. The costumes by Daniela Ayala were thoughtful and fitting. I was thoroughly impressed with Arizona Rose Theatre company’s production of Little Women. I encourage all musical theatre lovers to witness this local gem of a production.

Tickets are available at www.arizonarosetheatre.com or by calling the box office at (520)888-0509. Special tickets prices for students, children, seniors and military apply. Little Women runs from April 27th- May 5th

Costumes, Set, and Technical Design Breathe New Life into a Familiar Coming of Age Tale

by Marguerite Saxton

The 1800’s brought many influential things to Germany: Adolf Hitler, Nietzsche, The Brothers Grimm and the infinite creep factor of “Der Struwwelpeter” (Google it!). This is the backdrop for Arizona Repertory Theatre’s season finale, Spring Awakening.

Michael Schulz as Melchior and Rachel Franke as Wendla. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

Spring Awakening is based on the late 19th century play The Awakening Spring, A Children’s Tragedy by German playwright Frank Wedekind. This modernized version is an austere depiction of oppression, rebellion, and sexuality, featuring maturing kids finding their bodies amongst shifting roles – girls drool over guys who don’t care about anything but are good at everything, while the guys suffer explicit fantasies about their piano teachers. Typical.

Spring is “a time to be born, a time to die; a time to plant, and a time to pluck up that which is planted…” (Ecclesiastes 3:1-8). In this lusty season of rebirth we find ourselves sowing metaphorical seeds for the future. Spring Awakening’s director Hank Stratton has expressed that it’s necessary to have death in order to have new life. And what is a more fitting way to celebrate Eostre, the Germanic goddess of spring, than with awkward teenage S.E.X.?

This multiple-Tony winning musical features Steven Sater’s cringy, angsty songs about new ways to touch oneself. But Stratton, according to his recent interview in the Arizona Daily Star, is okay with that. He “expects some audience members to be uncomfortable.” And well, it is.

Yet, this is a show of contrasts. While hopelessness pervades, a spirit of dissent runs almost as wild as the hormones. Though conscientiously directed, the obvious opposites within the script create scenes that are confusing but, in a way, accurate to that time when seemingly everyone was mystified by human sexuality.

The motifs in the story are predictable: adults vs. kids, sex vs. chastity, pleasure vs. pain. A bit cliché. How many times have we seen this story? Girl has sex, gets pregnant, and has a terrible life while the boy basically gets to be the bad ass. Though the narrative starts out strong and funny, it unfortunately flickers out.

While the script leaves something to be desired, there are key performances that pack a punch: much of the movement is purposeful and well timed – a particularly satisfying scene features caustic schoolmasters, headbanging, and air-guitars. And there were stand out vocals by actors Jared Machado (Georg/Dieter) and Rachel Franke (Wendla).
Another gem in the script is the queer love story. Its nuanced vulnerability adds dimension to a predominantly straight tale. This was an astute detail to add to an otherwise familiar story.

Zach Zupke as Moritz and Gabriela Giusti as Ilse. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

Where this play really shines is with the set design, technical, and costuming teams. The design of the theater is such that some audience members sit only feet from a technician, but wouldn’t know it due to the team’s utmost professionalism. They execute their jobs efficiently and in perfect unison. And the design team finds new ways to tell an old story. The set explores space in funky ways thanks to Scenic Designer, Joe C. Klug. Chairs hang from ceilings and the floors become a place to take notes. Tori Mays, Lighting Designer, rounds out a visually creative production with unlikely textural choices, employing geometric gobos and infusing many scenes with disconcerting chartreuse. Costume Designer, Ryan B. Moore, goes for symbolic touches by stitching tiny crosses of Peter onto the boys’ uniforms. This cross is a common symbol in counter-culture scenes, serving as a sneaky reference to the defiant nature of the students.

Another great component of this production was the live musical accompaniment – a classy touch that fosters a multisensory opportunity to connect with the play’s ethos. In many other productions they’d be hidden in a pit, but in this production they are instead proudly displayed for the audience as an essential organ, pumping their feet in tune, plucking their fingers in a rhythmic heartbeat that circulates vital energy throughout.
The script is predictable, but the execution of the production is done with gusto and skill. It’s clear those working on Spring Awakening are truly invested in this piece. This season’s final show at Arizona Repertory Theatre may not have awakened all of the senses, but it energizes one into the next phase, however screwy that may be.

Spring Awakening is directed by Hank Stratton and shows at Arizona Repertory Theatre from 4/7 through 4/28. Tickets can be purchased at https://theatre.arizona.edu/shows/spring-awakening/.

 

Editor’s Note: We mistakenly credited Richard Tuckett as the costume designer in a previous version of this article. In fact, Ryan B. Moore, a second year MFA student, was the costume designer for this production of Spring Awakening.