Please note during auditions we will be adhering to social distancing guidelines and you are welcome to wear a mask at your discretion.
Director: Martha Velez, Phd
Dates of Audition:
Friday, Nov 6, 2020 at 6PM
Saturday, Nov 7, 2020 at 2PM
Sunday, Nov 8, 2020 at 2PM
Stage West Community Playhouse
8390 Forest Oaks Blvd
Spring Hill, FL 34606
CHARACTERS: LITTLE WOMEN (in order of appearance)
(*March Girls will be portrayed from teen years to late teens and twenties. ( We’re looking for teen girls who can portray age growth as specified. Also, slightly older actresses, who can portray teens, are encouraged to audition)
Margaret “Meg” March – 16-19 yrs.
Meg, the eldest sister, is 16 when the story starts, 20, by the end. She is referred to as a beauty and manages the household when her mother is absent. Meg fulfills expectations for women of the time; from the start, she is already a nearly perfect “little woman” in the eyes of the world. Before her marriage to John Brooke, while still living at home, she often lectures her younger sisters to ensure they grow to embody the title of “little women” Meg is employed as a governess for the King family, a wealthy local family. Because of their father’s family’s social standing, Meg makes her debut into high society,
Josephine “Jo” March – 15 -18 yrs.
The principal character, Jo, 15 years at start, 18 by end, is a strong and willful young woman, struggling to subdue her fiery temper and stubborn personality.
Second oldest of the four sisters, Jo is boyish, the smartest and most creative one in the family; Jo has a “hot” temper that often leads her into trouble. Jo loves literature, both reading and writing. She composes plays for her sisters to perform and writes short stories. She initially rejects the idea of marriage and romance. While pursuing a literary career in New York City, she meets Friedrich Bhaer, a German professor. On her return home, Jo rejects Laurie’s marriage proposal, confirming her independence.
Elizabeth “Beth” March – 13 -14 yrs.
Beth, 13 when the story starts, 14 when she dies, is described as kind, gentle, sweet, shy, quiet and honest and musical. She is the shyest March sister and the pianist of the family. Infused with quiet wisdom, she is the peacemaker of the family and gently scolds her sisters when they argue. As her sisters grow up, they begin to leave home, but Beth has no desire to leave her house or family. She is especially close to Jo: when Beth develops scarlet fever after visiting the Hummels, Jo does most of the nursing and rarely leaves her side. Beth recovers from the acute disease but her health is permanently weakened. As she grows, Beth begins to realize that her time with her loved ones is coming to an end. Finally, the family accepts that Beth will not live much longer. They make a special room for her, filled with all the things she loves best:
Amy Curtis March – 12-15 yrs.
Amy is the youngest sister and baby of the family, aged 12 when the story begins. Interested in art, she is described as a “regular snow-maiden” She is the artist of the family. Often coddled because she is the youngest, Amy can behave in a vain and self-centered way. She is chosen by her aunt to travel in Europe with her, where she grows and makes a decision about the level of her artistic talent and how to direct her adult life. She is also the only one who strives to excel at art purely for self-expression, in contrast to Jo, who sometimes writes for financial gain.
Margaret “Marmee” March (Mother) – 35-50.
The girls’ mother and head of household while her husband is away in the Civil War 1862. She engages in charitable works and lovingly guides her girls’ morals and their characters. She once confesses to Jo that her temper is as volatile as Jo’s, but that she has learned to control it. She is the focus around which the girls’ lives unfold as they grow.
Theodore “Laurie” Laurence – 17-21 years.
A rich young man who lives opposite the Marches, older than Jo but younger than Meg. Laurie is the “boy next door” to the March family. He is described as attractive and charming. He has an overprotective paternal grandfather, Mr. Laurence. Both Laurie’s mother and father died young, so as a boy Laurie was taken in by his grandfather. Preparing to enter Harvard, Laurie is being tutored by John Brooke.
John Brooke – 30’s During his employment as a tutor to Laurie, he falls in love with Meg. He accompanies Mrs. March to Washington D.C. when her husband is ill with pneumonia. When Laurie leaves for college, Brooke continues his employment with Mr. Laurence as a bookkeeper. When Aunt March overhears Meg accepting John’s declaration of love, she threatens Meg with disinheritance because she suspects that Brooke is only interested in Meg’s future prospects. Eventually, Meg admits her feelings to Brooke, they defy Aunt March (who ends up accepting the marriage), and they are engaged. Brooke marries Meg a few years later when the war has ended and she has turned twenty.
Aunt Josephine March – 60-70.
Mr. March’s aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family’s poverty, their charitable work, and their general disregard for the more superficial aspects of society’s ways. Her vociferous disapproval of Meg’s impending engagement to the impoverished Mr. Brooke becomes the proverbial “last straw” that actually causes Meg to accept his proposal. She appears to be strict and cold, but deep down, she’s really quite soft-hearted.
Robert March (Father) –40-60.
Formerly wealthy, the father is portrayed as having helped a friend who could not repay a debt, resulting in his family’s genteel poverty. A scholar and a minister, he serves as a chaplain in the Union Army during the Civil War and is wounded in December 1862. After the war he becomes minister to a small congregation.
Professor Friedrich Bhaer – 40’s
Philosophically inclined, and penniless German immigrant in New York City who had been a noted professor in Berlin. Also known as Fritz, and works as a language master. He and Jo become friends, and he critiques her writing. He encourages her to become a serious writer instead of writing sensational stories for weekly tabloids. He has warmth, intimacy, and a tender capacity for expressing his affection—the feminine attributes Alcott admired and hoped men could acquire in a rational, feminist world.” They eventually marry.