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| L - R Juliett Rojas, Sophia Joy, Eadric Einbinder, and Taos Pressman |
By Joe Straw
One must take note that on Sunday November 21st, 2021, at approximately two in the afternoon, the blistering sun was unforgiving on our stroll from the Venice Family Clinic parking lot, which by the way, has an abundant amount of free parking on Sundays, to sally forth to the Morgan-Wixson Theatre in Santa Monica.
Outside, the affable crew was checking for our vaccination status, stamping our left hand with unidentifiable red marks, along with checking our identifications. Easily, retrieving our tickets we escaped the heat as we entered the nice cool confines of rustic The Morgan-Wixson Theatre.
In my life, or maybe my past lives, I have visited this theatre before. It is still beautiful with a large stage, very cool, and comfortable seating for two hundred souls. It is the perfect place to see a musical and that is what we did on this pleasant afternoon.
The Morgan-Wixson Theatre’s Youth Education/Entertainment Series (Y.E.S.) proudly present its 25th Annual Youth Musical Little Women the Broadway Musical, Music by Jason Howland, Book by Allan Knee, Lyrics by Mindi Dickstein and based on the novel by Louisa May Alcott through November 28th, 2021. Directed by Anne Gesling and produced by Cori Goldberg, Eve Keller, and Evelyn Vizzi.
Children’s musical theatre has its ups and downs. One goes hoping for the best but expecting a limited number of incalculable mistakes as part of the “growing up on stage” one has to do as young performers negotiate their craft. I saw no mistakes on this afternoon.
Little Women The Broadway Musical was remarkable in all the ways that make musicals fantastic to watch and to absorb in its entirety. The young performers were excellent in their craft, conflicts were realized, relationships were superb, and the singing, oh the singing! This was an absolute joy to watch and with all theatre the significant moments in this production were all realized. And these are the moments one personally takes home and relishes throughout the following days.
The story begins in Mrs. Kirk’s boarding house. Jo March (Eadric Einbinder) is having problems having any publisher buy her “blood and guts” periodicals, which are the rage in this 1860s setting. She employs Professor Baher (Cole Kaller), also living in there, to listen to her story as she performs it for him.
And magically the players Clarissa (Abby Penny), Braxton (Filip Alexander) and Rodrigo (Ethan Kuwata) appear in an overly dramatic melodrama that Jo has created.
Professor Baher, a focused simpleton, is not amused and suggests that her work is not very good.
Jo, filled with drive, continues on her quest to writing a better story but for now her life continues with her mother Marmee (Monty Oxman) and her sisters Meg (Sophia Joy), Beth (Bo-Violet) and Amy (Mimi Vizzi) all negotiate life without their father who is so far removed, working as a Chaplain for the Northern Army.
It is necessary to note that the March family is poor and manages only to get by on their wits and their willingness to see the future and all that it holds for them. But for now they manage to get by, by any means necessary including chopping down and stealing a Christmas tree, they cannot afford to buy, from their rich neighbor Mr. Lawrence (Charli Austin).
Mr. Lawrence, along with his grandson Laurie (Taos Pressman) tagging along, comes to scold the thieves who have stolen his tree. But Laurie immediately falls in love with Jo and Mr. Lawrence takes a fancy to Beth who steals his heart with her piano playing and singing.
Jo eventually finds her way in life and finishes the book she was born to write.
Anne Gesling, the director, retiring after 25 years at the Morgan-Wixson Theatre has created a wonderful work of art. From beginning to end the work captures you and envelops your entire being with heartbreaking moments and moments that will make you howl with laughter. The characters, all teenagers, are richly developed and wonderfully expressive. In short, this was a wonderful experience that works on so many levels. Anne was also responsible for the wonderful costumes. Just amazing work!
Daniel Koh, Musical Director, had all of the performers readied in their quest to perform beautifully. The voices were strong and it was a pleasure listening to the voices with no discernable mics attached. In short it was a wonderful job.
Michael J. Marchak, Choreographer, gave a delightful look and feeling of those times. The dancing was marvelous and the merriment was infectious.
Marc Antonio Pritchette, Fight Choreographer, prepared the actors in some wonderfully expressive fight scenes.
William Wilday wore many hats for the lighting design, set design, and technical director. Larry Gesling’s work as the stage manager was also impressive.
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| L - R Sophia Joy, Walden Sullivan, Charli Austin, Juliett Rojas |
The remarkable thing about Charli Austin’s work as Mr. Laurence is her creativity in making the role genuine, leaving behind the false character choices of a dawdling grandfather. Wonderful work!
Lilliana Bettinelli was exceptional as the disruptive Amy March.
Eadric Einbinder is lovely as Jo March a woman who creates dreams from the smallest of inspirations. Einbinder’s voice is lovely and his manner on stage is exceptional.
Sophia Joy as Meg March, the oldest sister, manages her way and is funny and delightful throughout. Her voice is very strong hitting the high notes with ease and her acting skills are formidable.
Cole Kaller is impressive as German professor Bhaer. As stodgy as professor Bhaer can be, there can be more made of his love for Jo March, finding it in the beginning until the very end. Still, his work is solid.
Monty Oxman is stoic as Marmee March, the matriarch of the family. Oxman manages to find that thing in the character that makes her expressive as the mother of four daughters. The scene with cap sleeves with Meg works wonderfully as well as the patch on Jo’s dress. It is funny and impressive work.
Abby Penny bounces in and out of stage as Aunt March, a somewhat mean spirited woman that wants to control the things around her, including her nieces. Her actions showcase a different kind of love from her being.
Taos Pressman as Laurie is a young man wanting the woman of his dreams only to be confused as to who the woman of his dreams really is. It is a role of confusion, of wanting so much from a woman who does not reciprocate his love.
Bo-Violet Vig was wonderful as sympathetic Beth March and has a very strong stage presence. Her song “Off to Massachusetts” pulled on some very emotional heartstrings.
Walden Sullivan is impressive as John Brooke, a suitor to Meg March. The small talk to Meg scene was very funny and very real.
Other members in The Operatic Tragedy were Avery Fox (Hag), Sarah Hajmomenian (Troll), Kheian Washington (Knight) and Juliette Rojas (Rodrigo II).
And still other member of this troupe who were either in the ensemble or did not perform the day I was there are as follows: Filip Alexander (John Brooke), Maria Goldberg (Aunt March), Chase Klein (Jo March), Emily OckoMichalak (Marmee March), Yaya Toubassy (Meg March), Juliett Rojas Vig (Beth), and Mimi Vizzi (Amy March).
It takes a village or in this case an army to create a production as fantastic as this one. One has seen a lot of children’s theatre in the past and by far this has to be one of the best!
Run! Run! Run! There are only three more performances! Take someone who loves the book Little Women and enjoy it all over again.
Other members of this delightful crew are as follows:
Christopher Aruffo – Dialect Coach
Ethan Kuwata – Assistant Stage Manager
Mira Keller – Youth Producer
Ever Golden – Sound Technician
Lauren Drzata – Poster/Postcard Design, Program Design
Carter Nowak – Box Office Manager
Box Office: 310-828-7519
Website: www.morgan-Wixson.org
Morgan Wixson Theatre
2627 Pico Blvd.
Santa Monica, CA 90405
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