Jo: The Little Women Musical - Theatre Royal Drury Lane

Based on the timeless classic by Louisa May Alcott, Jo follows the story of the March sisters as they come of age during the American Civil War. It is a classic for a reason: a story of sisterhood, love, and - most importantly - of finding one’s own path, whatever that may be. Little Women is one of, if not my favourite, stories of all time. The 1994 film adaptation carried me through some of my darkest days, reminding me of the joy found in human connection and the quiet beauty of childhood and family. With that in mind, it would take something truly special to even begin to rival the feeling that film gives me. Jo is that “something special.”

Much like the novel itself, this musical adaptation is a coming-of-age story—both onstage and behind the scenes. Writers Christina Harding and John Gabriel Koladziej began their journey with the show while still in high school. Though the work lay in a drawer for nearly 30 years, that passage of time has given them a rare and invaluable perspective: they quite literally grew up alongside their characters. Their teenage selves live within the younger March sisters, while their adult wisdom shapes the grown-ups of the story—an insight few productions are lucky enough to possess. Composer Dan Redfeld, meanwhile, entered the project with an already impressive list of credits and a gift for orchestration that is increasingly rare in modern theatre. Together, their collaboration resulted in a stunning piece of theatre—made all the more frustrating by the fact that this world premiere existed only as a one-night concert version. If the producers’ intention was for audiences to leave desperate for more, then mission well and truly accomplished.

Roger Alarcon

The orchestrations are simply majestic, and they have held my heart captive since the album’s release last summer. Featuring a 27-piece orchestra - an increasingly uncommon luxury in today’s theatre landscape - the score feels expansive, romantic, and alive. While the rarity of such orchestral richness is disheartening, it only makes scores like this one feel even more special. This is music that makes you believe anything is possible, which feels particularly fitting for a story led by such a determined heroine. To match a score of this magnitude, it seems only right that the production would assemble some of the industry’s finest performers.

Christine Allado’s Jo March is nothing short of phenomenal. Delivering a sky-high, powerhouse performance worthy of a Disney princess, Allado inhabits the role as though it were written specifically for her. Watching - and listening to - her was genuinely magical. Eleanor Grant and Sophie Pollono, as the younger March sisters, were tasked with portraying the most dramatic emotional and physical transformations in the story, all while receiving minimal assistance from costume design. Both rose to the challenge beautifully. Grant’s Beth possessed a gentle sweetness that never wavered, resulting in a portrayal that felt deeply pure and heartfelt - particularly meaningful as Beth is my personal favourite character. Pollono, meanwhile, brought a delightful mischievousness to Amy, her vocal quality perfectly reflecting the character’s spirited nature. When the sisters finally came together with Kelly Mathieson (Meg), the effect was utterly spellbinding, at the risk of sounding redundant.

Roger Alarcon

Earlier in the rehearsal process, the writers spoke about their desire to present Amy in a new light - one that reframes her desires not as greed, but as ambition. By deepening the relationship between Amy and Aunt March (Tracie Bennett), the production succeeds in offering a more empathetic understanding of a character so often misunderstood. I was also particularly moved by the development of Amy’s relationship with Laurie. In many adaptations, their pairing can feel unnecessary or rushed, but here it is justified with care and emotional clarity. With Tobias Turley taking on the role of Theodore “Laurie” Laurence, the duet "My Captive Heart" reduced this hopeless romantic reviewer to joyful tears.

At nearly three hours long, Jo is undeniably a lengthy experience. For someone who has waited what feels like years for this moment, however, the runtime was hardly a deterrent - I found myself never wanting it to end. That said, there are moments that could be trimmed without losing their impact, particularly in favour of allowing more crucial scenes the space to breathe.

Despite these minor pacing issues, Jo stands as a remarkable and deeply moving addition to the Little Women canon. It honours the spirit of Alcott’s novel while offering fresh insight, emotional depth, and breath-taking music. More than anything, it reminded me why this story has endured for generations - and why it continues to feel like home.

Production Value: 95%

Value For Money: 95%

Personal Enjoyment: 100%

Overall Score: 97% - ⭐️⭐️⭐️⭐⭐️ (5*)

(Review not commissioned)

Show Information

Venue: Theatre Royal Drury Lane, London

Playing: One-night Only 25th January 2026

Run Time: Approximately 3h - including a 20 minute interval