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Theatre Royal, Drury Lane,
Cast: Christine Allado, Lydia Bannister, Tracie Bennett, William Bozier, Kerry Ellis, Eleanor Grant, Barry James, Michale Lin, Kelly Mathieson, Chris Mann, Michael Miyagi, Julian Oveneden, Sophie Pollono, Yazdan Qafouri, Liam Tamme, Gabriella Tooma, Tobias Turley.
Co-lyricists and book writers: Christina Harding and John Gabriel Koladziej
Composer: Dan Redfeld
Running time: Approximately three hours.
Jo The Little Women Musical is about pursuing your passion no matter what.
It’s a mantra the show’s three writers have lived by.
They met as theatre school students in California three decades ago when they first began work on turning Louise May Alcott’s classic into a musical.
Their progress was slowed by 9/11 and the COVID pandemic, but finally they’re on track and delivered a one-off world premiere semi-staged concert at London’s Theatre Royal that should be followed by full-scale productions at an unspecified date.
The power of Alcott’s story, never out of print and translated into at least 50 languages, is augmented by Dan Redfeld’s lavish and complex score performed by a nearly 30-strong orchestra.
Giving their all to the high emotions and long, satisfying songs, the cast at the world premiere was led by Christina Allado as Jo.
She has strong support from the sisterhood and mother Marmee, played by Kerry Ellis of “Wicked” fame and much else besides.
The fine-voiced male members of the cast – including Chris Mann as Jo’s love interest Professor Bhaer, Tobias Turley as Laurie and Liam Tamne as John Brooke – also get plenty of scope to shine.
Harding and Koladziej’s lyrics and dialogue bring fun and plenty of friendly U.S./British jibing in recognition of the decision of these U.S. producers to perform their world premiere in the West End.
Tracie Bennett as Aunt March also delivers comedy the audience relished.
I have a quibble, and it’s a churlish one, typical of the cynical Londoner, but this big-hearted musical would benefit from being shorter.
I’d also say the American Civil War that was the backdrop to Alcott’s story deserves more mention than it got. It could add a highly topical edge, but then this is a musical whose raison d’etre is escape from the harsh realities of then and now.
Jo The Little Woman Musical,
Theatre Royal, Drury Lane,
Cast: Christine Allado, Lydia Bannister, Tracie Bennett, William Bozier, Kerry Ellis, Eleanor Grant, Barry James, Michale Lin, Kelly Mathieson, Chris Mann, Michael Miyagi, Julian Oveneden, Sophie Pollono, Yazdan Qafouri, Liam Tamme, Gabriella Tooma, Tobias Turley.
Co-lyricists and book writers: Christina Harding and John Gabriel Koladziej
Composer: Dan Redfeld
Running time: Approximately three hours.
Jo The Little Women Musical is about pursuing your passion no matter what.
It’s a mantra the show’s three writers have lived by.
They met as theatre school students in California three decades ago when they first began work on turning Louise May Alcott’s classic into a musical.
Their progress was slowed by 9/11 and the COVID pandemic, but finally they’re on track and delivered a one-off world premiere semi-staged concert at London’s Theatre Royal that should be followed by full-scale productions at an unspecified date.
The power of Alcott’s story, never out of print and translated into at least 50 languages, is augmented by Dan Redfeld’s lavish and complex score performed by a nearly 30-strong orchestra.
Giving their all to the high emotions and long, satisfying songs, the cast at the world premiere was led by Christina Allado as Jo.
She has strong support from the sisterhood and mother Marmee, played by Kerry Ellis of “Wicked” fame and much else besides.
The fine-voiced male members of the cast – including Chris Mann as Jo’s love interest Professor Bhaer, Tobias Turley as Laurie and Liam Tamne as John Brooke – also get plenty of scope to shine.
Harding and Koladziej’s lyrics and dialogue bring fun and plenty of friendly U.S./British jibing in recognition of the decision of these U.S. producers to perform their world premiere in the West End.
Tracie Bennett as Aunt March also delivers comedy the audience relished.
I have a quibble, and it’s a churlish one, typical of the cynical Londoner, but this big-hearted musical would benefit from being shorter.
I’d also say the American Civil War that was the backdrop to Alcott’s story deserves more mention than it got. It could add a highly topical edge, but then this is a musical whose raison d’etre is escape from the harsh realities of then and now.
Barbara Lewis © 2026.
By Barbara Lewis • added recently on London Grip, music, musicals, theatre • Tags: Barbara Lewis, music, musicals, theatre