PicoBlog

When I first began blogging about theater over 12 years ago, the way to get a good review was to make me feel something. That's why I called myself The Sappy Critic. While my tastes have refined in a dozen years, thankfully and regrettably, I am far more likely to overlook other flaws if a show or a performance can move me.

Fortunately, in the case of recently appointed Patricia A. Corbett Distinguished Chair of Musical Theatre Vincent DeGeorge's masterfully directed LITTLE WOMEN, there are few flaws to overlook. In fact, the small details that might go unnoticed by many are what sets it apart from other productions I've seen.

As soon as musical director Julie Spangler began playing the piano for the opening score, I felt goosebumps. My affinity for CCM's musical theatre program is well-documented, so perhaps it was being surrounded by people and talent that I love. But I believe it was more than that. Since I have no attachment to the source material (I've never read the novel and only seen a play or two featuring the March sisters), it wasn't that. No, I think the purposeful, intentional way that DeGeorge, Spangler, and the cast set about bringing this story to life - out of the rows of books inside an independent bookstore - gave me the feels.

Household Books, a hidden gem on Gilbert Avenue, is as spunky as the lead character, "Jo," and its owner, Bobby Minelli, welcomed this musical with open arms. His charming presence on Monday when I photographed the show, and Friday and Saturday when I saw both casts perform without a camera in my face only accentuated the good vibes. DeGeorge staged the show in the center of the room, with the audience on all sides of the action. The intimacy of such blocking intensified the emotion and gave the actors opportunities for eye contact with each audience member.

The show was double-cast to give as many students opportunities to perform as possible. Each role was played by a different actor, except for three "adult" characters. Hannah Ervin showed versatility as both the severe "Aunt March" and the quirky "Mrs. Kirk." Declan Smith garnered big laughs as the grumpy "Mr. Laurence," but in concert with the audience's growing affection for the sisters, Smith's portrayal softened and provided some of the warmest moments of the show. Finally, Peyton Kern has the difficult task of playing the mother to these four girls despite being younger than some. Yet, she channels a nurturing instinct that provides thoughtful warmth. Add her unique voice, and her performance was glorious.

Seeing both casts perform was a fantastic opportunity to see each performer's different acting choices - and being able to contrast and compare the various characterizations was a rare opportunity. For instance, Mikayla Shipe's "Amy" was petulant and childlike, while Madison Mosley's portrayal was a little harsher and more bratty. Both are equally fantastic but different in their approach. Eliza Levy's "Meg" was sweet and grounded. Gracie Parker accentuated Meg's whimsy and leaned more into the silly. Again, both were highly entertaining yet unique. Lucy Acuna's take on "Beth" was subdued and sweet, and I enjoyed her connection with Declan Smith's "Mr. Laurence." Amanda Bishop's intense and obvious affection for "Jo" brought great depth to the character's emotional arc.

Regrettably, Kern, Jett Blackorby, and Brian Cheung were out sick on Saturday night. Sydney Short swung in for “Marmee” on Saturday; as a freshman, Short’s talent belies her age - and she, too, was authentic as a mother. Her voice is outrageously strong, and I cannot wait to see more from her in the next few years.

Also on Saturday, Nate Jones reprised his role from the other cast as "Mr. John Brook." Jones is a highly versatile person; his backstage, behind-the-scenes contributions to CCM will be hard to follow post-graduation, so it was thrilling to see that he is as talented in a featured role on stage as he is off. His performance was lovely.

"Laurie," also double cast, featured Ry Dever on Friday. Dever is one of my favorite performers; the innocence and youthfulness of Laurie and the honesty in the portrayal made me smile throughout each moment. Swing Dan Klimko stepped in on Saturday and showed great comic timing and self-awareness. Klimko has a self-assuredness that will serve him well as he heads to New York this spring along with the rest of the senior class.

Professor Bhaer is German; therefore, Stanislav Przedlacki and Matthew Danforth worked with dialect coach Sarah Summerwell on their accents to great results. Przedlacki's amusement at Jo's independence differed from Danforth's more stoic take; the pairs were perfectly matched in natural chemistry as each Professor/Jo combo was utterly believable.

Finally, the most demanding role is "Jo," the outspoken sister and main character. Tomi Newman is an amazing actor; the vulnerability of their performance was equal to the highest caliber I've ever seen. Kassandra McMillan's vocals were reminiscent of the best of Broadway, and her delivery of some of the show's best lines was pointed and spot-on. The nuanced choices each made throughout gave me new perspectives on the character and the story both nights.

Spangler, who directed the music and accompanied the show (along with violin virtuoso Kerrigan Mandrell), made the two-piece combo sound like a full orchestra. Co-choreographer Eliza Levy's partner dances gave life to transitions in the show and complimented DeGeorge's other movements and blocking. The pacing of each scene made the close to three-hour runtime fly by. The minimal props, costumes, lights, and sound all spotlighted the performances and the story, something that can easily get lost in the pizzazz of big-budget musicals.

LITTLE WOMEN - as written - is a mediocre script with a couple of decent songs, but in the hands of such professionals and students like stage managers Hannah Kate Hawver and her assistant Emily Mallendick, well-trained and talented actors and singers, and visionaries like DeGeorge and Spangler, this production of the show was remarkable. It’s likely the one of best musicals to be produced in Cincinnati this year.

And I’m not just saying that because I cried two nights in a row.

UP NEXT AT CCM: Once on This Island, directed by Torie Wiggins.

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