Little Women - KW Productions Review

KW Productions brings some big personalities to Little Women at Leicester's cosy Little Theatre. With just eleven performers, they create a world brimming with enthusiasm and personality. This small but mighty company turns this beloved tale into an evening of charm and joy. So, what exactly makes this “little” production such a big success? 

Set in Civil War–era New England, Little Women follows the spirited March sisters — aspiring writer Jo, gentle Beth, romantic Meg, and artistic Amy — as they navigate growing up, chasing dreams, and finding their place in the world. Adapted from Louisa May Alcott’s beloved novel, the musical blends warmth, humour, and heartfelt ballads to chart their triumphs and trials: Jo’s quest for independence as an author, Meg’s first steps into adulthood, Beth’s quiet strength, and Amy’s determination to shine. With its sweeping score and tender storytelling, Little Women celebrates family, resilience, and the power of imagination.

One of the greatest triumphs of this production is John Bale’s sure-handed direction, which gives the whole evening a polished, professional gleam. Too often, amateur musicals can be peppered with clunky blackouts or scene changes that stall the storytelling; here, everything flows like a well-rehearsed dance. Transitions between scenes are not just smooth but satisfyingly clear, aided by clever projected titles above the stage that gently guide us through time and place. It’s an elegant solution that keeps the narrative moving while helping the audience stay rooted in the March sisters’ world. “Seamless” might be an overused word, but in this case, it’s entirely deserved.

What’s also refreshing is how thoroughly the creative team have thought about every corner of this story. The set and costumes instantly settle us into the 1860s without ever feeling fussy or overdone. There’s an admirable restraint at play, a chaise longue here, a writing desk there, the piano in its rightful place, all of it used with purpose rather than clutter. This approach is complemented by a lighting design that skillfully employs colour and tone to shift moods, highlight conversations, and create intimate moments. And then there’s the live band, led with a steady hand by musical director Grace Bale, whose warm, textured accompaniment fills the auditorium with incredible music. Together, this creative team provide something visually and aurally pleasing for the audience.

Let’s talk about the cast, because KW Productions has gathered a group of performers who threw themselves into Little Women with open hearts and boundless energy. At the centre of it all is Danielle Sanders as Jo March, and what a delight she is. Sanders storms the stage with Jo’s trademark vitality: every stomp, grin and fiery glance reminds us that Jo is a young woman determined to leave her mark on the world. In Act One, she’s all impetuous enthusiasm, a budding author with ink on her fingers and a head full of bloody stories, and Sanders makes her endlessly exuberant. By the second half, we see Jo mellow into someone wiser, shaped by love and loss, and Sanders guides us through that journey with a lovely touch of restraint. Her final scenes, penning a novel inspired by her sisters, are tender and full of quiet pride: you can’t help but root for her.

Opposite Sanders is Keiran Whelan-Newby as Professor Bhaer, who brings charm and gentle humour to Jo’s New York chapter. Whelan-Newby’s Bhaer is courteous and a little shy, with a twinkle of admiration whenever Jo speaks her mind. Their duet, “Small Umbrella in the Rain”, is a genuine highlight, a sweetly awkward love song that the pair deliver with warmth. Whelan-Newby’s smooth voice lends the song a lilting romance, while his solo, “How I Am,” showcases control and clarity that hold the audience spellbound. There’s something quietly steadfast about his performance, which makes the professor’s affection for Jo all the more believable.

And then there’s Alexandra Elliott as Marmee March, who provides the beating heart of the piece. Elliott captures both Marmee’s calm strength and her reservoir of affection for her daughters, radiating a grounded wisdom that anchors the story. Her renditions of “Here Alone” and “Days of Plenty” are rich, heartfelt, and beautifully sung. While Elliott may be far too young to be mother to the four ‘Little Women’ on stage, she fills the role with such wisdom, warmth and sincerity that you’re never in doubt she’s the steady centre of this lively household. Every scene she’s in feels just a little safer, a little more luminous, because Marmee is there.

One of the joys of amateur theatre is those unexpected moments that remind you you’re sharing something live and unrepeatable — a peak behind the magician's cloth. During “Some Things Are Meant to Be,” Beth’s dress became tangled in the wheels of her wheelchair, causing a ripple of giggles through the audience. But credit where it’s due: the cast handled the situation with such composure that it ended up being part of the evening’s charm. A tug off the stage by a stagehand, a few knowing smiles, and they were right back in the immersion of the show.

As for the “little women” themselves, they delivered performances that brimmed with heart. Katherine Wadd’s Amy March was an absolute delight with a mix of mischief and innocence. Wadd gave Amy just enough sparkle and silliness to make her endlessly watchable, while still grounding her in sincerity. By the time Act Two rolled around, Amy had blossomed into a woman with her own quiet wisdom, and the audience couldn’t help but cheer when she finally found happiness with Laurie.

Katie Draper brought a gentle magic to Beth March, crafting a character so warm and believable that you felt protective of her from the moment she appeared. As a younger Beth, Draper radiated sweetness, but she also layered in a sense of depth that paid off beautifully in the second act. When Beth’s health begins to fail, Draper’s tender performance made the story land with genuine poignancy — you could feel the audience holding their breath, willing her to pull through.

Rounding out the quartet was Rose Bale as Meg March, the eldest sister and the family’s moral compass. Meg may not have Jo’s wild ambition or Amy’s cheeky sparkle, but Bale played her with an elegant poise that gave the character real weight. From her shy excitement at the ball to her steady devotion as a wife and sister, Bale made Meg’s quieter virtues shine. She gave us a Meg who felt aspirational without ever losing her warmth — a calm, dependable heart in a whirlwind household.

Every so often, the accents took us on an unscheduled whistle-stop tour across the States — with the occasional detour via Europe — and a few opening-night jitters meant that some lines raced past faster than the audience could catch them. But honestly, that only added to the handmade charm of the evening. There’s something rather special about watching performers throw themselves into a story with such gusto, even if a vowel or two takes a holiday.

Tim Stokes was a delight as Laurie, the genial neighbour who drifts into the March sisters’ lives like an overexcited stray puppy looking for a home. Stokes captured Laurie’s boyish enthusiasm beautifully, giving the character a sweetness that made his growing affection for Amy utterly believable and refreshingly free from melodrama. His scenes bubbled with warmth, and his easy charm made it impossible not to root for him.

Tony Whitmore gave real dimension to Mr Laurence, Laurie’s grandfather. At first, he stood as the story’s stern sentinel, every inch the curmudgeonly patriarch, but Whitmore allowed us to see the soft heart beating beneath the formality. His scenes with Beth, particularly the tender “Off to Massachusetts,” were among the show’s most touching moments, a lovely example of how simple connections can light up the stage.

Rounding out the company were three vibrant performances: Dan Rowberry brought an appealing dash of wit and colour to Mr John Brooke, Mary Delahunty relished every imperious beat as the formidable Aunt March, and Amander Sadler made Mrs Kirk a bundle of warmth and gentle humour. Together, they added texture and sparkle to a story already rich with affection.

In Summary, KW Productions’ Little Women is a wholehearted celebration of community theatre at its best. It’s a show powered by enthusiasm, camaraderie, and a deep affection for Louisa May Alcott’s beloved story. When the cast is having this much fun, the audience can’t help but join in. If you’re looking for a night of laughter, nostalgia, and good old-fashioned storytelling, head to The Little Theatre and let Little Women sweep you off your feet.