REVIEW: Little Women - Phoenix Ensemble

Title: Little Women

Presented by: Phoenix Ensemble

Directed by: Tammy Sarah Linde

Venue: The Tin Shed Theatre, Beenleigh

Season: Now playing until 24 May – Tickets available here

A Sisterhood Brought to Life

Phoenix Ensemble’s Little Women is a warm, nostalgic, and emotionally rich musical that invites us into the world of the March family. Set during the American Civil War, the story is adapted from Louisa May Alcott’s beloved novels Little Women and Good Wives (two of my personal favourites!). It follows the lives of the four March sisters—Jo, Meg, Beth, and Amy—as they navigate the trials of growing up, sisterhood, grief, and love. The musical is framed by Jo March (Emma Erdis), a spirited aspiring writer living in New York, who reflects on her youth with her sisters and mother Marmee (Samantha O’Hare) during their father’s wartime absence. As Jo strives for independence and literary success, she battles societal expectations, sibling rivalry, and personal heartbreak, ultimately finding her voice through the power of storytelling.

Stephanie Bateman’s set feels cosy and welcoming—oil lamps, quills, fireplace, Amy’s precious sketches, and a little library of well-loved stories—it’s a space brimming with detail and lived-in charm. Maddison Joyce’s period costumes bring a lovely authenticity and softness to each character. Amy’s butter-yellow dress, Jo’s earthy brown tweeds, Beth’s gentle blues—each sister’s personality shines through their wardrobe.

From the first harmonies of “Our Finest Dreams,” we’re drawn into the March sisters’ world of rich vocals, sisterly warmth, and instantly engaging energy. The orchestra, neatly nestled in the corner (as always with Phoenix), sounds glorious, with Kym Brown’s musical direction bringing a fullness to the score that supports every musical moment beautifully. If you haven’t heard the Little Women soundtrack before, every single song is stunning. And not only that, but each is delivered beautifully by this exceptional cast.

Emma Erdis is magnetic as the untamed, passionate, and assertive Jo March. They embody Jo’s bold spirit and fierce heart with remarkable ease, whether it’s a fiery retort, a flash of creative direction, or a moment of tender vulnerability. Emma wears Jo's emotions on their sleeve, just as the character demands. Their rendition of “Astonishing” as the Act One closer is a full emotional journey—moving from fury, to inner conflict, to determined resolve—powered by a voice that fuses theatrical strength with moments of operatic grace. Emma also shares a sweet, lavender-hued dynamic with Joshua Bird’s Laurie—playful, mismatched, and brimming with youthful affection.

Stephanie Collins presents a gentle and understated Meg—demure and proper on the outside, but with hidden insecurities (and dreams) that peek through her poise. Her duet with Mark James as John Brooke, “More Than I Am,” is softly romantic and divinely performed in Steph's distinctive classical soprano.

Kayleigh Bancroft and Madeleine Ford are completely believable as the youngest March sisters, Beth and Amy. Bancroft as Beth feels like a ray of sunshine—exuding sweet optimism and compassion, her radiance lighting up every scene. Her chemistry with Warryn James’ initially gruff Mr. Laurence blooms sweetly in “Off to Massachusetts,” one of the show’s more tender moments.

Madeleine Ford’s Amy is a force to be reckoned with—bratty, bold, and brilliantly real. She leans all the way into Amy’s whiny jealousy and self-righteousness, making her tantrum and destruction of Jo’s manuscript genuinely painful to witness (yes, it still hurts!). Jo's reprise of “Better” in response is searing and vocally expressive. I actually hated Madeleine a little in that moment—and I mean that as a compliment. That’s what makes her growth so rewarding. She makes Amy’s transformation feel honest and earned by the end.

Joshua Bird as Laurie is delightful, with his beaming grin and buoyant tenor voice lighting up the stage in the vocally demanding “Take a Chance on Me” (no, not the ABBA song). His scenes with Emma are quirky and endearing, although (spoiler alert) the heartbreak in his rejection scene didn’t quite land as hard as it could have. That said, his eventual pairing with Amy in “The Most Amazing Thing” is sweet and feels much more suited.

Samantha O’Hare as Marmee grounds the production with dignity, strength, and maternal love. Her solo “Here Alone” aches with loneliness, while “Days of Plenty” is a crushing showstopper—emotionally raw while somehow being vocally perfect, made even more haunting as rain began to fall on the theatre’s tin roof. Thanks for making me cry Sam.

Philippa Bowe as Aunt March steals scenes with her commanding presence and dry wit, made even more memorable by her hilariously enormous hoop skirt that feels like a set piece in itself! Her duet with Jo, “Could You?”, is sharp, fun, and vocally strong.

August Cocks’ Professor Bhaer doesn’t get much stage time in Act One (since it is Jo’s reminiscence after all), but he shines in Act Two as his affection for (a now grown-up) Jo grows. His German accent is believable, and he plays the awkward intellectual with a real sweetness. His “How I Am” was a quiet favourite of mine, and the final duet “Small Umbrella in the Rain” with Emma is a soft, beautiful capstone to Jo's journey.

Mark James is a sincere and bashful John Brooke, particularly sweet in his early interactions with Meg. Though... Mr. Brooke really does need to tie up his hair or curl it away from his face—it blocks too many expressions, and it doesn’t suit the time period. A quick restyle would go a long way!

Act Two dives deeper into the bittersweet reality of growing up as each sister walks her own path—Jo in New York, Amy abroad, Meg as a wife and mother, and Beth’s health deteriorating. “Some Things Are Meant to Be,” sung by Jo and Beth as they dream up adventures that will never come to be, is gut-wrenchingly beautiful. Emma’s final numbers, “The Fire Within Me” and “Sometimes When You Dream,” bring Jo’s arc to a powerful, poetic conclusion—her grief, her growth, and her resilience culminating in the novel that tells the story we’ve just lived through.

Tammy Sarah Linde’s direction is sensitive and well-paced, capturing both the intimate domestic joys and the sweeping emotional themes of Alcott’s story. It feels like a love letter to the books and their readers. That said, there were a few moments where blocking could have been tightened—occasionally, actors faced directly away from the audience or towards the wings, which disrupted connection. Angling these scenes more would help maintain sightlines and keep the audience emotionally engaged. Similarly, ensuring hair and wigs are styled away from the face would allow facial expressions to land more clearly. A few more interactions between Jo and Beth in Act One (they are supposedly inseparable) would also elevate the emotional clarity of their bond before Act Two’s heartbreaking climax.

I didn’t quite feel the full weight of Jo’s devastation and anger when Amy destroyed her manuscript—probably feeling less tense because the actors clearly get along. Likewise, the grief from Laurie, Amy, and Meg over Beth’s death didn’t quite hit with the emotional force it should have. On a different note, Emma conveyed Jo’s elation beautifully in the scenes surrounding her dreams of travelling and literary success. I also loved Kayleigh’s expressive face throughout, and particularly the effective choice to rouge her cheeks during Beth’s scarlet fever, which added to the visual impact of her decline.

Hannah Macri’s choreography adds fun and flow, especially in upbeat numbers “I’d Be Delighted” and the criminally short but wonderfully joyful “Five Forever.” Andrew Haden’s lighting design subtly shifts us between playful and poignant tones, while Luke O’Hagan’s sound design ensures vocals and orchestrations blend well throughout.

Phoenix Ensemble’s Little Women is a heartfelt and moving production. With a strong ensemble cast, excellent vocals, and sensitive storytelling, it’s a loving tribute to one of literature’s most beloved families. Whether you’re new to the March sisters or you’ve loved them for years, this show is absolutely worth your time.

🎟️ Click here to book tickets – the season runs until 24 May.