Two Takes on Timeless Women: "Little Women" and "Penelope" on Boston Stages

One adaptation falters under excess, while another finds power in restraint

Little Women, Actors' Shakespeare Project, Mosesian Center for the Arts, Watertown, through March 1. 617-923-0100 or MosesianArts.org

Eminent domain is no excuse for a bad adaptation. A sad case in point is the recent Kate Hamill adaptation of The Odyssey at American Repertory Theater. In that staging, Hamill demonstrated her strengths as an actress in playing the sorceress Circe but failed to do justice to Homer's classic. Regrettably, Hamill is now making the same mistake with Louisa May Alcott's 19th-century classic Little Women, which she has adapted for an Actors' Shakespeare Project production at the Mosesian Center for the Arts. As with her efforts on The Odyssey, her stage version of Little Women seems to pay more attention to an agenda than to the actual essence of the original work. Adding to the problems with the ASP staging is Shana Gozansky's uneven and often overdone direction.

Alcott's remarkably affecting novel focuses on the very different four March "little women"—Jo, Amy, Beth, and Meg—and their deep family unity with their warm, caring mother, whom they call Marmee, as they await the return of their father, who is fighting for the Union in the Civil War. A persuasive adaptation should trust the novel's clear characterizations, sibling rivalries, and romantic entanglements without resorting to unnecessary preachiness. Unfortunately, Hamill avoids nuance and understatement in favor of unnecessary highlighting—even suggesting an instance of sexual harassment when a publisher puts his arm around the budding writer Jo.

While the ASP cast members often try to make their portrayals compelling, they are sometimes stymied by Gozansky's directorial missteps. Olivia Fenton as Meg comes across as somewhat petulant in the early going. By contrast, Kaila Pelton-Flavin often seems too passive as the fragile Beth. Chloe McFarlane has the right feistiness as adventurous Amy, especially in aggressive exchanges with her writing sister Jo. Aislinn Brophy convinces as serious-minded Jo; at the same time, she demonstrates both spirit and wit with the equally appealing Jonah Barricklo as striking neighbor Laurie, particularly during an early shoeless romantic moment. Sarah Newhouse, as Marmee, has all of the wise mother's strength and sweetness as she keeps her daughters in tow.

There are moments when Beth contends that nothing lasts forever. Given the ongoing timeliness of Alcott's novel—evidenced in part by numerous entertaining film and stage versions—Little Women is likely to disprove Beth's contention. As time goes by, the same should not be said about Hamill's disappointing adaptation.

Penelope, The Lyric Stage Company of Boston, through March 1. 617-585-5678 or LyricStage.com

A careful reading of Homer's Odyssey may leave many readers finding Greek hero Odysseus' wife, Penelope, as intriguing a character as her husband. After all, Homer presents the clever spouse weaving and re-weaving a tapestry in Ithaca in order to strategically put off the suitors pressuring her and remain faithful to her husband until his return. Clearly, composer Alex Bechtel and co-writers Grace McLean and Eva Steinmetz have taken their cues from Homer's epic in focusing on this resourceful heroine in their thoughtful musical Penelope. Under Courtney O'Connor's attentive direction, very talented actress Aimee Doherty exuberantly handles the various demands of this one-actor work, along with sharp veteran music director Dan Rodriguez and four fellow musicians (Marissa Licata on violin, Ethan Wood on viola, Kett Lee on violoncello, and Josh Goldman on percussion).

Both regal and jaunty as Penelope, Doherty captures the Ithacan queen's responsible nature in Odysseus' absence and her singular faithfulness to her husband, as well as an energetic embrace of both music and dance. A particularly striking sequence involves lyrics that move from the idea of elements of nature having work to do to Penelope's own resolute determination to follow through on her responsibilities. Doherty's wide-ranging portrayal effectively moves from concern about her absent son, Telemachus, and frustration as she waits for her husband—even smartly questioning his delay, as other Greek warriors have already returned—to a wistful appreciation of the bed she holds for them alone, and finally to a hopeful closure suggested in Homer's epic.

Audience members of all genders should warm to Penelope as a timely reminder of the importance of the home front in times of war. Doherty's radiant performance does full justice to Homer's remarkably patient heroine.