From the brochure, “Little Women Ballet”, established in 2023 by Emma Andres, is a series of dance works about the classic tale Little Women – with the culmination being a full-length ballet”, to be performed at the Wilshire Ebell Theater on December 7th 2024. Emma Andres is the director/choreographer of this ballet company which has its home at Pasadena Civic Ballet. Andres is young and ambitious, especially in this endeavor. She is also savvy in her choice of venue for “Little Women,” the immersive experience. Heritage Square is the perfect setting for this story and these characters to tell their tale. Upon arrival one is met with various characters in costume who welcome and engage in the vernacular of their historical period.
Little Women Ballet – Autumn – Photo by Edie Tyebkhan.
There are three versions or episodes in this tale that are all set in the Heritage Square Museum setting. The first was in May of 2024 and was titled “Little Women Ballet: Spring”, next, “Little Women Ballet: Autumn” and then “Little Women Ballet: Winter” to follow. Finally, the Wilshire Ebell Theater will consequently host the entirety in a comprehensive whole.
The crowd was initially broken up into groups where different characters would guide them to the different houses on the property to see various scenes from the story. The salons and living rooms and foyers of the homes added a great deal of context to the scenarios played out. In small groups up close the narrative was clear and we had Aunt March (Denise Moses) leading us who was responsible for the text. While speaking to Andres at the event, she said there is to be no text in the full ballet at the Wilshire Ebell putting more pressure on her choreography. The sets as well will need to be as telling as the Heritage Square homes though perhaps not as all-encompassing.
Little Women Ballet – Autumn – Photo by Edie Tyebkhan.
There were three live musicians who added a lovely dimension to the choreography throughout the evening. They were: Meredith Hooper (Cello), Marcus Michel (Viola), and Daniel Robbins (Piano). Their efforts helped make believable the many antics of the sisters March. My favorite scene was Beth and Jo in the downstairs salon where Jo was comforting her while sick. There was a sequence where we see Jo and Professor Frederick Bhaer, all in black with a black umbrella (He comes to her aid during a downpour). It read as a scene from a Magritte painting and so added a surreal aspect to the romantic interlude.
Little Women Ballet: Autumn – Jo with Professor Frederick Bhaer – Photo by Edie Tyebkhan.
Costumes were well realized by Diane DeFranco Browne, Audrey Pittokopitis, Gina Cockriel, Lee Ann Mikity, Susan Andres, Dana Parks, Rose Reyes, Laura Paszkiewicz, Mitch and Jenna Howe. Apparently, it takes a village. After seeing the many characters involved, I now know why. The dancers were able to freely move with no costume encumbering them in any way. They were also well detailed in the custom of the time.
Andres says, “As a young female choreographer, it is crucial to me that young dancers start to see more ballet narratives that surround inspiring characters and their stories.” This is a very noble and wholesome attitude to take in this day and age and I wish her all the luck in the world with it. Andres’ choreography is fine and completely serviceable to her subject matter. She had partnering and dancers en pointe and a rousing finale with the entire cast. This is a story for the whole family and especially the young girls with a particular light in their eyes for the ephemeral world of ballet.
Little Women Ballet at Heritage Square was presented by Artists Plus Productions.
For more information about Little Women Ballet, please visit their website.
For more information about Heritage Square Museum Los Angeles, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Little Women Ballet – Photo by Edie Tyebkhan.
