4 Sisters, 3 Plays, 1 Enduring Story : Local Performances Play on the Feminine Differences Celebrated in Alcott’s ‘Little Women’

Louisa May Alcott took a premise--that no matter how much siblings may seem to have in common, it is their differences that are the most telling--and made good use of it in her novel “Little Women,” the story of March sisters Jo, Meg, Beth and Amy, and the tragedies and joys of their domestic life in Civil War-era Massachusetts.

Now, no fewer than three local theater groups--the Cabrillo Playhouse in San Clemente, the La Habra Depot Theatre in La Habra and the Grace Players in Cypress--are staging versions of Alcott’s classic. Each is unique.

Marian De Forest’s adaptation at the Cabrillo probably will ring most true with literary purists. It also is the best of the three in terms of direction, acting and overall production quality.

Aided by the cozy playhouse (the Cabrillo seats about 60) and Ron Lance’s comfortable set designs, director Terri Miller Schmidt has crafted a “Little Women” that is as welcoming as a favorite armchair. Sitting in the audience, it’s not hard to imagine that you are an unseen guest in the March family parlor. Even children as young as eight may enjoy it, although at last Saturday night’s performance, adults far outnumbered youngsters.

The story begins in 1863 in what promises to be a grim Christmas season for the March household. Father, a minister, is off tending to the spiritual needs of “our brave men”; family finances, generally tight at the March house anyway, are tighter still in the face of wartime austerity. Besides, their mother reasons, there’s no reason for them to indulge themselves with pleasures when so many are going without.

The girls--free-spirited Jo, prim Meg, saucy Amy and meek Beth--grouse about it. Jo and Amy grouse quite a lot. Indeed, that’s one of the more attractive qualities of De Forest’s version: The sisters, altruistic and loving and admirable as they are overall, aren’t too good to let loose with a little girlish peevishness now and then. Amy can throw a Grade A snit when the situation warrants it.

De Forest’s script neatly trims Alcott’s lengthy novel into a performance of a little more than two hours with intermission--and still manages to cover more territory than the other two local productions do in 2 1/2 hours.

Relating a sequence of events over a five-year span, this version lets you watch the girls grow up. Granted, some of the story’s most familiar scenes are missing (such as Amy’s burning of Jo’s book) and others are woven in only by reference. For instance, the courtships between Meg and John Brook, and later between Laurie and Amy, blossom largely off stage. But De Forest brings the lovers into the spotlight at key moments, nicely highlighting the era’s restrictive rules of decorum.

Speaking of which: When Jo (who’s never been too hot on the idea of Meg leaving the family fold to marry) catches her sister and John in a warm embrace, she squeals like a stuck pig, “Oh Father, come quick! Mr. Brook is acting dreadfully! And Meg likes it!”

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Even though Jo has most of the plum lines, she isn’t the dominant voice in the play (as she is in the other two productions). Jo remains the central character, but De Forest also gives audiences a closer look at several others, especially Theodore Laurence (Laurie to his friends), the Marches’ next door neighbor and boyish Jo’s best pal.

Karen Smith is a delightful Jo, bounding across the stage and brandishing a fireplace poker to emphasize a point but mellowing nicely and taking on an aura of feminine wisdom as the character ages. Likewise, Lauren Stanley’s Amy is all tossed curls and arms akimbo early on but develops a fetching gentle quality as Amy grows from a peevish girl into a young woman. Bethanie Knieser plays Meg with the right amount of eldest-in-the-family superiority, and Allessandra Stewart is lovely as the invalid Beth.

As their mother, Marsha Collins is as nurturing and patient as Mama Walton on her best day. Brandon Karrer’s Laurie brims with boyish bravado early on, but reveals a heart-tugging vulnerability when his heart is broken by one of the sisters. Penny Radcliffe is suitably imperious as Aunt March, although her delivery was odd, running more toward hayseed than hoity-toity.

“Little Women,” Cabrillo Playhouse, 202 Avenida Cabrillo, San Clemente. Fridays and Saturdays, 8 p.m; Sunday (Nov. 12 only) at 2 p.m.; Wednesday (Nov. 15 only) at 8 p.m. Ends Nov. 18. $12. (714) 492-0465. Running time: 2 hours, 10 minutes.

Karen Smith:Jo

Bethanie Knieser:Meg

Lauren Stanley Amy

Allessandra Stewart:Beth

Marsha Collins:Mrs. March (Marmee)

Monte Collins:Mr. March

Penny Radliffe:Aunt March

Brandon Karrer:Laurie

Aaron Johnson:John Brook

Frank Vibrans:Professor Bhaer

A San Clemente Community Theatre production of an adaptation by Marian De Forest of a novel by Louisa May Alcott, produced by Ron Lance, directed by Terri Miller Schmidt. Scenic design: Ron Lance. Lighting design: Rod Rogers. Costumes: Tom Phillips. Stage manager: P.J. Stanley.

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“Broadway Jo” might be a fitting sub-title for the Larry Blake/Randy Woltz adaptation of Alcott’s story at the La Habra Depot Theatre. Blake (book and lyrics) and Woltz (music) have married Alcott’s historically rich prose and characters to modern musical theater. Blake has directed the show as well.

Here are some excerpts: Jo, chafing against society’s rules regarding womanly behavior, sings mournfully about their impact on her self-esteem (did girls even use that word in 1863?). Later, she and her friend Professor Bhaer dance and sing about the wonders of the P.T. Barnum museum, a duet capped by Herr Professor’s head-over-heels encounter with an ottoman. And when the sickly Amy succumbs to scarlet fever, her grieving, God-fearing family members fall to their knees and, you guessed it, sing.

It’s certainly not the first time a literary classic has spawned a musical-theater piece. Look at “Pygmalion.” Look at “Beauty and the Beast.” Look at “The Wizard of Oz,” for gosh sakes. And there are several points where the combination of song and story work well together.

For example, the Act I “Christmas Opera” is a kick, complete with warbling heroines. Better yet are the “Here I Am. . . .” songs in which Jo (unquestionably the main voice in this version) takes a periodic personal inventory of her life, beginning with her 17th birthday and ending with her 23rd. Through the tunes and the action on stage, the audience learns of her goals as a girl and sees how they shift and ultimately are realized, albeit in different form, when Jo reaches young womanhood.

Blake’s dialogue reinforces the theme as well, and although the words he puts in Jo’s mouth sometimes come off a bit preachy, the underlying messages--of staying true to one’s dream and having the wisdom to change when change is needed--are good ones.

Megan Ferry has an admirable voice and sings with apparent ease, something that cannot be said of some of the supporting cast. Ian Downs is an entertaining Professor Bhaer, although his German accent is excessive, especially during the musical numbers.

Visually, the addition of a skating scene in a wintry park is a nice seasonal touch, highlighted by some wistful and well executed choreography by Jo Lindsey. The park also is the setting for a tender duet between lovers John and Meg and (a hit with the younger members of the audience) some cutting up on the “ice.” There even are “snowball” fights (actually, they’re balled up socks). Technical woes, including lengthy set changes and missed lighting cues, muddled things at Friday’s dress rehearsal, but most of these problems should clear up as the run progresses.

* “Little Women,” La Habra Depot Theatre, 311 S. Euclid, La Habra. Fridays and Saturdays at 8 p.m. and Saturday, Nov. 12, at 2:30 p.m. Ends Nov. 25. $8 to $10. (310) 905-9625. Running time: 2 hours, 30 minutes. Megan Ferry Jo

Amy Centner: Amy (at 9)

Summer Smith: Amy (at 16)

Adriana Sanchez: Meg

Carolyn Tomaka: Beth

Carol Anne Posey: Mrs. March (Marmee)

Carol Herman: Aunt March

Charlie Visnic: Laurie

Josh Lander: John Brook

Ian Downs: Professor Bhaer

A La Habra Depot Theatre production of an adaptation by Larry Blake and Randy Woltz adaptation of novel by Louisa May Alcott, produced by Charlie Del Muro, directed by Larry Blake. Musical direction: Randy Woltz. Scenic design: Larry Watts. Choreography: Jo Lindsey. Costume design: Tom Phillips. Lighting technician: Shawn De Hart.

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Staged in a well-appointed but cavernous (600-seat) church, the Grace Players’ “Little Women” confines the action to just one year in the life of the March family. Adapted by Peter Clapham and directed by Liz Moore, this production--the group’s first--offers some interesting sidebars to the story not seen in the other two versions.

These include a glimpse into the life of the March’s wealthy neighbor Mr. Lawrence that reveals why he has a soft spot in his heart for the girls. There also is more attention paid to Amy; she’s as volatile as ever, but her vanities add a needed spark to the sisters’ interactions. Clapham also delves a bit into the relationship between Amy and Laurie, which is nice, but he masks or completely does away with some of the story’s most moving, tragic aspects.

Apropos to the church setting, the show features a few lovely hymns and carols, performed to live piano accompaniment. However, Moore’s blocking leaves much to be desired, with the actors frequently delivering their lines full face to the audience or engaging in dialogue while lined up like tin soldiers.

The standout among the mostly amateur cast is Lynn Gardiner as Jo. As the girls’ mother, Linda Hart is warm and sweet without being too treacly. Graham B. Forrester’s Laurie is far too restrained, but his grandfather, played by David Byrd, has bluster to spare. Director Moore’s portrayal of the maid Hannah is too much over the top for a supporting role.

* “Little Women,” Grace Church, 5100 Cerritos Ave., Cypress. Ends tonight. Curtain: 7:30p.m. $7.50. (714) 758-2865. Running time: 2 hours, 35 minutes. Lynn Gardiner Jo

Julia Loofbourrow: Beth

Megan Sullivan: Amy

Holly Baca: Meg

Linda Hart: Mrs. March (Marmee)

Pat Kogok: Aunt March

Liz Moore: Hannah

Graham B. Forrester: Laurie

Eric Benson: John Brook

David Byrd: Mr. Lawrence

A Grace Players production of an adaptation by Peter Clapham of novel by Louisa May Alcott, directed by Liz Moore. Scenic design: Wendy Jukkola. Lighting and sound design: Doug Lippincott. Costume design: Emma Course. Stage manager: Shirley Hooper.