New York Review: “Little Women” by Hedgepig Ensemble Theatre at South Oxford Space
Natalie Rine, Associate New York Critic
Walking into the second-floor ballroom of the cozy South Oxford Space, one is immediately greeted with warmth and Christmas spirit. At the center is a table inviting you to make a holiday card to be donated to a nearby hospital. The table sits across from a grand piano where (canned) Christmas tunes softly float over the room. On the other side, the fireplace garnished with garland burns brightly, and this scene before a word is even spoken invites you right into the midst of the most famous Civil War family’s home. Today this isn’t a rehearsal space, but the Marches’ abode, soon to be abound with the frantic energy of the four famous sisters—Meg, Jo, Beth, and Amy and their guiding mother—popular for decades of adaptations (this Christmas’ feature film included). But here in the enclosed intimacy of this grand hall, with snow lightly falling on the Brooklyn streets outside, Hedgepig Ensemble Theatre’s adaptation of “Little Women” is the greatest gift you could give your family this holiday season.
The story is a classic bildungsroman for the ages, following the quartet through their formative years learning, fighting, and growing alongside each other as they make their way through the tumultuous world of 1860s budding female education, empowerment, and identity. Directed with a swirling energy by Brooke Viegut, the production captures this by immersing the surrounding audience from all angles. The sumptuous costume design by Sara Felini isn’t just eye-candy but felt with every swoosh of their skirts brushing past you as they run to the window, scurry to the piano, or fling themselves on each other in attack (thrilling fight direction by Mike Magliocca utilizes every inch of the intimate space). The original novel by Louisa May Alcott’s themes of morality, independence, and women’s growth live fluidly in this production so no fan will feel disappointed, even as this production focuses mainly on the joy while bouncing over the darkness of war and death with a light skipping-rock energy, all the better to rush to the audience sing-alongs of Christmas carols.
The verisimilitude of one theme being more important than others though is brushed aside here, as adaptors Molly Horan and Emily Drossell aim to cover a lot of ground—years of these women’s’ lives-- in a mere ninety minutes. Whereas other iterations focus on the luxury of sumptuous period sets or heavy-handed romance, Hedgepig remains true to their focus of elevating womxn’s stories by placing the heart of this classic story rightfully back at the center: womxn’s growth and change is inevitable, necessary, and applauded. This is accomplished by removing all the external characters of the original novel, so that we don’t have male suitors or in fact, any male characters, on stage; the women rotate in and out of the home, gazing out of the window or coming back from the outside world changed, but by switching these to unseen catalysts, the ballroom aligns more to a classic American “family room” drama where the home is the centerpiece for character development.
Over the timeline of the play, the March sisters get lost in feelings of anger, feelings of infatuation, feelings of jealousy or befuddlement. “Where do I fit in?” floats sub-textually with every sigh, wink, and jab. This question hangs heavy as it plays out intertwined with or muddling their identity throughout the piece. Am I a sister? Writer? Mother? Wife? Do you lose one part of you to become another? Do dreams change? Is that “allowed”? These questions play out in the psychosis of feminism today, let alone during the Civil War era, and this all-star cast leads a subtle, nuanced exploration even under the façade of holiday merriment. The inter-connectivity of the actors in their microcosmic world of the March home keeps this story relevant and urgent, even as the pacing struggles to cover a lot of ground at breakneck speed, not pausing for any emotional hits. With pep in their step and glints in their eyes though, all five actors exhibit a penchant for rapt delivery and stage presence, letting every word drip and bite the air with profound dexterity and command. This makes the production a huge success, since after all, the stakes in “Little Women” aren’t simply bad guy vs. good guy plotlines, but rather the painful and often swift juxtaposition of ups and down that is just rote everyday life.
Hedgepig Ensemble Theatre’s “Little Women” is right on time for the holidays and is guaranteed to warm your heart.
LITTLE WOMEN by Hedgepig Ensemble Theatre
“Little Women,” by Louisa May Alcott, is a new adaptation created by Brooke Viegut, written by Molly Horan and Emily Drossell. Hedgepig’s ensemble members include Desiree Baxter as Marmee, Sara Hymes as Meg, and Rachel Schmeling as Jo. Guest artists include Ashley Kristeen Vega as Beth and Samanthia Nixon as Amy. The production team includes Brooke Viegut (director), Molly Horan (Co-Playwright), Emily Drossell (Co-Playwright/Dramaturg), Lauren Jackson (Stage Manager), Mike Magliocca (fight director), Kayla Page(costume design), Tekla Monson (scenic/property design), Mary Candler (producer), Emily Lyon (Associate Artistic Director), Olivia Williamson (voice/text coach), Charlotte Ahlin (illustrator).
Founded in 2012, Hedgepig Ensemble Theatre elevates the voices of womxn by reimagining the classics. By investing in the growth of artists, they nurture an inclusive and collaborative community that creates artistically excellent work. More information at hedgepigensemble.org.
“Little Women” runs through December 22 at The South Oxford Space, Great Room (138 South Oxford Street, Brooklyn, NY 11217). Run Time: 90 minutes. The production is recommended for ages 7+. Tickets available at bit.ly/littlewomenbk (case sensitive)
Photo Credit: Allison Stock Photography. Samanthia Nixon, Ashley Kristeen Vega, Rachel Schmeling, Desiree Baxter, Sara Hymes