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    LITTLE WOMEN KATE HAMILL LOUISA MAY ALCOTT ei DRAMATISTS PLAY SERVICE * DRAMATISTS PLAY SERVICE INC. | * | | | (CHARACTER BREAKDOWN Doubling for 9 actors ‘Women Acton t -MARMEE MARCH, The matriarch ofthe March family. A. social revolutionary, ahead of her time. Good sense of humor. A warrior; Keeps the family together. Tough. Strong. Intelligent. AUNT MARCH. (70+) The most unpleasant od woman imaginable. Haslots of money privileged. Song political and personal opinions, Which people endure, Jadgmental- Has an intermittent, hacking, disgusting cough Aeron 2 ‘MEG MARCH, The oldest March daughter, Wears gasses, Acts as “Marmee second in the house. romantic at heart-—likesto dress up snd havelileHaxaries in lie Actors JO MARCH. The second-oldest March. Does not fit comfortably ‘within the parameter fer given gender role. A deep fre within het [Extremely ambitious and frustrated by the distance between where she is and where she wants to be, impatient. Wants to change the word, Very smart and knows it A mix of insecurity and sepinatin, Boyish and rough-and-twmble. Sometimes antagonistic. Not the ‘most tolerant of difering viewpoints, Can be quite awkward or abrupt; bad temper when riled. A great sense of humor. Passionate Ahead ofher time. A warrior Has special relationship with Beth, Acton 4 BETH MARCH. The third March. An extremely special person. Very sweet and paraltically shy; had to be removed from school because ‘other paralyzing socal anicties. Agoraphobic. Almost incapable of going ou inthe word sheltered by her family. Loves deeply and has deep empathy for everyone. Loves the simple things in life—so much tat it huts, Sees much more than anyone realizes, Brave and sensitive; quick to forgive and heal wounds. An observer. Acros AMY MARCH. ‘he youngest March. Opinionated and spunky: ‘poplar and quite focused on style. Not the mos tolerant of fering viewpoints. Socially intelligent, Sometimes puts onalrs.Pethaps bit spolled. A perfec ite lady—except for her temper, and her not-0- ‘reat command of “yocabiblar? Grows upto be quite beautiful and elegant, Madly in lve with Laurie, around whom she s never col Actox6 HANNAK. trish, The Maris longtime housekeeper, cook end de facto babysitter. A trearore; terror; a traditionalist. Takes no non sense. Matter-of fact she's the bos ofthat Kitchen, for sure. MRS. MINGOT'E A very sich stylish woman, Vanderbi-esque, condescending, not terily pleasant fancies herself charitable, (MESSENGER. A female messenget. Men ‘cron? THEODORE "LAURIE" LAURENCE. A sweet and handsome young man. Sensiive Funny chiming end cain. In fantasies ha whit knight ding into rescue damsel in distress. A natural rusian, Wealthy thanks w his inertance, generous, docs not hae o think about money. Dos not always ft comfortably within the parameters ois pven gender role—he doesn want to grow up to bea soldier or tedious man of busines. Finds family in the Marches Acton JOHN BROOKS. Laurie sometimes stifand awkward tuto. rule follower. A poor man, well educated. Has avery noticeable limp— probably served in the war and was sent home, akthough may have bean disqualified from sevice aogeher. Feel deeply. Quite madly in love with Mog PARROT. Aunt Marci parot pure evil. A musty, disgusting bird, Probably an actual demon in parrot form, Acton MR. LAURENCE, Laue grander, responsible for Lauriss upbringing. A wealthy man. A gentleman in the strictest sense, Not comsoriablewih emetional ngage ba at expressing hiasel Has ‘a rigid sense of what is appropriate behavior, especially for a man. ‘Tends toward rufinesso temper, Probably qulte unintentionally frightening. Deeply regret of incident in his past, but unable to expresit ROBERT MARCH. Father tothe March gts, Never peas, but his presence looms lage Wounded inthe wars never quite recovers. A ‘Spnicant limp, Stoggles wih his injuries both emotional and Physic Actor 8 or Actor 9 will aso double the par of MR. DASHWOOD. A publisher of cheap newspapers and novels, ‘A businessman, working in a mans world, Fancios himself a reais ‘Nota nie guy. Fancieshimselfa nice guy. DOCTOR (nonspeaking) IMPORTANT NOTES Lite Women MUST be cat aan ince fhion—particlasiy the March fly. isan American pay and should rele America today In the March household in this pla there snot much room for ‘xpresing grief openly and flly—perhaps because in ies ike these you night er tht if you tout it wil never stop coming (fen when we cannot eres sadness, we turn o angerapgresion.. ~The trap in this play —andall plays have traps—isto try to recreate ‘the nove, or some idea ofthe novel, or some idea ofthe archetypes found inthe novel, This edapation sa reeling, and in some ways conscious explosion of those archetypes. Iis not polite. None ofthe characters are good or bad The are nt always ikable—and that’s particulady important for young women, the freedom to not be “ikabe” tl imes—but hey are human. They are imperfect people, and it nota perfect fly. ‘A.sash Jin line of dialogue indicates where the next character ‘should begin speaking. Parentheses around dialogue mean the words are not necessarily heard by the andience, LITTLE WOMEN ACT ONE : Seene1 ‘Over the set hangs a Civil War-era photograph of the March son the cup of being March women. clock below the Doria ck. ot writing in a red notebook. She in a masculine other father’ cso, Beth sts by Jt desk, cain a flower. Here and there maybe homely pots of flere taken cre of but not 0 showy. BETH, Tell mea story, Jo. JO. (Sei writing.) Now? Bath nods Jo pasts on a bad mustache ‘Once upon a time, there was a WIZARD named RODRIGO, and bbe cast a TERRIBLE / (SPELL) BETH. —not that kind of story. JO. Thats what fm waiting, Bet... (Assuming a big, masculine ‘Rodrigo voice) RODRIGO AND HIS DASTARDLY DEEDS of DEPRAVITY! In this chapter, he finds a beautiful, Seantly Clad, SCREAMING maiden, tied up toan ENORMOUS | (worm) BETH. —AREAL one. JO, Those are boring. ‘eth stares at her expectant She may even pointedly clear her throat. Jo tries to ignore Beth then — ‘Once upon a time; there was a itle girl, who was beg a pest. BETH. Her name was Beth, JO. And thistle gel hada monster of sister— n BETH. (Objecting.) Jo! JO, ~thats right its name was Jot BETH. And Beth liked her monster very muuch, And? JO. And there were two other sisters in there somewhere. And a ‘mother, anda father. ‘She takes of the mustache and fiddle with ‘And this family lived in a small house inthe shadows of a big ly. ‘And outside the ity was an even bigger country — BETH. And that country went to waz. JO. To war wit tse But eventhough the father went to fght— ‘BETH. That was hard— JO, —even ifthe world bad spit apart—that itl gil and her monster: together, they felt whole BETH, What happened when they grew up? JO. Inthis story, they never grow up. They just say the same, anit lasts forever BETH. Nothinglasts forever, Jo. ‘Tellitagain? Ofte, dimer bel ings. Bath si up—this means breakfast AMY. (Off) —but I dont WANT to— {Jo may be about to get out of her masculine outfit and into a stirt draped over her chair—but, wf, reconsiders—pastes ‘on the mustache again, ad exits BETH. jo! ‘Beth follows her into breakfast as we transition to: R Scene 2 Breakfast in the Macs household. December, 1861. Amy sits Mag is doing he ac. AMY. But dct WANT to, Meg? MBG. Youre too youngto tim your iru Amyt HANNAH. (Off) MISS AN, YER NOT WEARING NOTHING [BUT BRAIDS, YOU'RE TOO LITLE! AMY TM NOT LITTLE, HANNAH! T am PRACTICABLY A FULL-GROWN WOMAN! anna barks lero hitch fohasentered ner ‘mustache’ corte, et bind he timo efawonen foamy rhage arma enters, ons down plate of bref and eso A apse omen JO. (Wtf iocene.) what? HANNAH. Dar) Yerbandslean atlas? Tourn her hands hich ere covered vith ink ‘MEG. Inle Again! JO. was writing my play! HANNAH. (Under ag re ‘must chase my inspiration in Jo’ outfit.) You gonna do some~ themorningbelore Aunt March thingabou hi? res ys. BETH, Where Is Mame, MEG. (drt Hama) What Hannah am ppore to do? HANNAH, Some cretre came begingond your ma went ots ‘a was needed She tea [MBS, Wy ae yo wearing the costme fo? Were nat ceasing today. JO. Tuma ofthe family with Father ay? B AMY, Josephine sso childish, Meg. Tis mos aggregating, MBG. (Amy—) 1. “Aggregating Tha new one ‘She pulls outa red notebook and writs it down, [MBG. You mean “ggraatng” deur JO. *Aggregating” AMY Ow— "AMI So wha, Jo? A ldy should seek to improve her voabilary. JO. Vocabiblary! AMY. Stop writing them down! Jo holds up her book ana fips the pages 40. Someday 1 shal pubs the colton! AMY, You wort 10. wa AMY, Worlt—Josepine. J. wilt AMY, WON'TJOSEPHINE HANNAH, (Entering slams down the syrap) GIRLS. BAT, Sldies aresarvnginthe fa The gis. 10. (Sighing athe aes enormous pings ofood)Thave no appetite. BETH. PoorJoItmast be hard to waiton Aunt March al day 10. (Bout at) Tochewr ‘She picks mustache out of mouth, ‘Bat come the new yas shell ake me to EUROPE! ‘She bangs om the table ina cram of excitement they all have to steady cups MEG. Téa thousand times rather sit with Aunt March than be the ingots governess with Ms. Mingo (Putin on a Mingo) of the Manfattan Mingots-always talking down toe. BETH, Poor Meg AMY. Atleast nether of you have to goto school the days are quite Interrantable— “ 10. (Pal out boo) “intermintablet BETH, Poor Amy— AMY. — gis laugh atmy braids, and sniff because we poor and label Pap for being an ablitonist— JO. “Libel” Labels are for pcke bots. -MEG, We ll got through chook ‘Amy. and you'll survive too. AMY, Not Beth! Why di she get to stay home? Any’ really eros Tine: Meg may smack her a ite lighty—Deth qua under he attention. BETH. Because Fam—supid. JO. (Very very angry Bethhad nervous episodes AMY. [MNERVOUS! MEG. Amy, hush! AMY. Why does she et one thing and me another? ‘MAG. Difrent people ned fee things. JO. Andou need to goto school—for youhavea termBleeas ofthe Moron! MEG, JO— JO. —1dontknow hati cursble! AMI. You~-YOU'RE THE MORON, YOU STUPID INKY STUPID OLD STUPID JOSEPHINE STUPID! When I grow up Iam going, foun aay witha pring, thats al 50. “That al” “AMY AndIDON'Tneed school forth AM, —and shall NEVER spo MY hands with working! JO. My hands ar inky Because Iam going tobe great writer and ‘make my marc upon the word Ste jumps upon he alto general consternation a J ee AM, (To Meg) OW! -—and then Tl buy Meg all the dresses she wants and you spelling primers— * Secon, dope atnd icp 5 Any eats bay. and Beth, what an ge yoo a whole hothouse of fowert BETH. AllT wants the fmiy hve, you ba Jo AMY, How are you goingto become famous writer? You'e jut ‘enn gil witha nat feper anda psted-on mustache Realy, Josephine you are postive Ceiling ro) desu MEG. “Delusional” JO. tna couple of weeks, going to EUROPE! And that where "nd the wey o make my fortune! AMY, (esows:) Oh, Earope. Europe Europe Europe. Nobody caRés! JO. Yostefustelos. AMY, (Outraged) Jal 50. You'l se In Burope become Shakespeare and Dickens and ‘hackeray ALL!TN! ONE! She makes a big vesping etre and kok oer aap of cope oop! Any gives itl feminine seam of day as the iid rol oer th table tomards her Beth ean. “The sound of belt rt doris opening J aril tap of the tbe MARNE. Helo get Tomouth ‘elas ot Ay and wrest down as Maree enters and aes ofr co rushing snow of. BETH, Marmest hs nd embraces he, [MARMEE. Mastachis fo? scr forthe hese, Tks her mother on he hak + Sentinal el 16 ‘Mas, Hommel? Her lite boy came begging. [went with him and found Mrs. Hummel terribly il with her children crying from, hunges, in couditions— She stops, overwhelmed. Well. tried to help. BETH, Poor Marmee. MARMEE. Ie been thinking, gels: Christmas i almost here, but its hard winter for so many, with the wat, Perhaps we shouldn't spend for pleasure. With Father avay we cat do much, but we can ‘make some sacrifice. We each can play our part. General dismay. ‘MEG. No Christmast -MARMEE, Well be together, and well heve Jos theatrical! But perhaps no presents You are becoming adults. That means learning what you need— and what you doa, Silence isonly a proposal ‘AMY. Christmas without any presents! ‘MEG. Ob, Marmee it does seem so— JO, ~SADI Does the wer have to take everything? BETH, They work so hard, Marmee, JO, Beth does too, she does so much at home— AMY. And meat school— -MEG. Maybe no presents, Marmee. Ay gives lite crea, ‘But we each have a dollar! Pechaps we could just..spend it on ourselves! Ay gives litle, ightly hap, sream. JO, Cast we buy just what we relly want? ‘AMY. What we really NEED? Pause. ‘MARMEE, Allright, gis ‘Sheaves soled white tebe mapkin in mock eet, I ourrender [BETH. I'm going to buy YOU something with my dalla, Marmee— suareal teat, -MARMEE. Ihave enough. ‘Theil get ready t0 90, HANNAH. (Manhaning her apron ful of hot potatos) Gis! is Potato OClock. (Pointed) Mss To. 30. What? -MARMEE. Jo, (eferencng hr out) You know you cant ‘ei fredt do her shire. She reluctantly pl off her ms ‘ache an depots tin Hara ha. Maybe they al watch this as hey pl om ats, coats hay donot comment on MEG. is her best martial bellow.) PRESENT! ‘sts. The gs march out, singing "Te Battle Hyman of the ‘ep’ shay dr Hara hrs tho each a ht potato ‘ee things ar. Ay refs her potato wih a shakeof thehead and asi Ja ling here takes 0a thy singe MARCH GIRLS. ‘Glory Glory Hala ‘Glory Glory Halujah (Glory Glory Hla His Tah s marching on! Scene 3 ‘The stop jus outside the front door, wincing with the cold AMY, Meg-do you have a dime? JO. Potato. AMY, A dime for limes, Meg, Tm dreadfully in debt 18 10. Potato, Amy. AM, es hat JO. Thats the point, AMY. T owe a dozen pickled limes to the other girls at school—for iF one gl likes another, she gives her a lime, and Tve goten 50 ‘many but haven returned any and soon shall become piranha 50. Pah. She pl ou er Book writes pana” down. MEG. Jo JO. Why dont you spend your Cristnas dolar on Limes? AMY [shall be using my dalla to buy a muf,Josepne—so 1 never shal ave to cary arty hot potato ever agai! Beds that ‘money is to buy something for ousles, not or others! MEG, —Tknow we ought o give up presets gladly, but Tm just ot that god. JO, We ought to do many things— MEG. —we ought to be gratefull After al, we have Father and Marmee and ech other. ANC, ugpling with he hot ott) Wehvert got Faber and wort foralong time. Perhaps (Geting upset) ov —perbaps neve JO. Dont say that AMO, (Quite upset) And my dlr cart bring him bac, can tt ‘She angry takes oto the ptate, dropping witha dll thud. SoT'm geting mre am ‘She almost cries MEG. Army Any sie tl and hides her face in Meg cot, Pano music pays. Aer a moment, Amy its her face and listens, distracted, JO. Whats that? -MEG. Hannah suid Mr Laurence grandson moved in next door. His parents died. 19 JO. He surecan ply. ‘They listen for a moment, AMY. Iisa. JO. An orphan growing up alone in that big house—youtl be sad, ‘MEG. He has tutor, Hannah sid and his grandfither JO. You canbe lonely ina crowd, ifs not the right cowd. J stfing her hand inher pockets, begins whistling along ‘th the msie— AMY, Dori, Jo-its so boyish, ‘Jo whistles ever louder. The music stops. Jo white the nest ‘part. The plano responds, They duet fora irate. Then it stops ‘A shadow comes o the window Jo rises hand 0 wave—the ‘shadow soy ass its hand, roving her. Another dadow ‘comes tothe window and pulls the fst one aay. The gis tar 50. ‘Megs my dime? My dime, Meg? My dime? ‘Mag fishes outa dime. Amy hips off singing Jo pick up Ary Aseanded potato, JO. POTATO! ‘Maybe she chucks the potato afer Amy, ootall-style however ‘happens, Amy has escaped. AMY. (Off singing tothe tune of “Balle Hymn”) Limes! Limes! Limeslimesimesines— JO. You never wold have given mea dime, in our schooldays. MEG. Dorit be jealous. JO. Me—ealous of Any? MEG. Time for work, Josephine. Jo makes a face. Meg exits—To pauses, stil staring atthe svindow (op)7o1 exits Scene 4 ‘A rept of Ams te smg fom oitage: “Lines, Lies, Limediedimet™ond then a hard sud of@ SLAP! Amy scram ofge—and then rt ontge. Se runs wl shes lost home, i abot to go inside heats uti She ‘Stsonasnowbank and el ory for kere Laurie ahand- ‘ome set yourg man comes ot the malo wit alter ‘LAURIE. Ob Hello! “Amy cries trical Are youll ight? Sheers. ay, is are youll ight? AMY. Leave me alone! LEAVE ME ALONE TO DIF IN THE sNowwwWww! ‘She tnows herself down ae sobs into th snow. ‘LAURIE, —Come, what the matter? AMY. (Cres) “cant a it too shamefil LAURIE. (inprovising) Well—sure. A damsel in distress should retain an ai of mystery. “He ofr har chai ‘Youre one of the March gis are you? {vebeen watching-seing you all. nn Theodore Laurence. (Laurie oes have any fends) Bt my fends call me Laue. He bods out hand shake AMY, Laurie Laurence? Thats ere (Sf) Why not Theodore? ‘LAURIE, If jst not who Tam, Pause —Donityou want to go indoors? AMY. Nobody understands in there. LAURIE, Truly? You all seem so happy together I mean, when 1 happen toto see you au AMY. They tease and scald me and think 'm spoilt ‘NO no—nobody even TRIES to understand me ANYWHERE! She wails again. LAURIE, Tim tying. ‘She looks a him ards AMY. Well—Towed a dozen picked limesto the other isa school, yousee— ‘LAURIE, Ofcourse— AMY, ~forif one gel likes another, she gives her a lime, and Twas becoming piranka~ LAURIE, Naturally— ‘AMY. And—and Mr, Smith caught me passing a lime— LAURIE. he scoundrel — AMY. —and he brought me tothe front ofthe roam and he took a rod and he—he WHACKED me! LAURIE. Shall ill him for you? AMY, Yes please. Amy hols out her hand, which i ed Walled and hot. He carefly blows on er and ate LAURIE, —bettrt Anny nods and wipes her tears. rom the Lawrences’ house, ‘Brooks, Lawrie toy, enters. He cant see Amy wntiThebalmast spon them. BROOKS. (Quite angry and frustrated) Theodore Laurence, you ‘cannot escape your lessons forever—Ob “He tops short, uncomfortable—he' not good with didren. Whit is—that? LAURIE. Isthe neighbor litle gi, Brooks. BROOKS, —Hell ub—Neghbor Lite Git / Have you—hurt or. AMY, Tam NOT litle gi tim NOT— BROOKS. (Reacting tothe melidown. all right—fastbring her to her parents A 22 AMY, —I AM A FULL-GROWN WOMAN! ‘She sits onthe nowhank and starts sobbing, his time straight into Laurie handlachief Brooks looks at Lawie—he clearly does have it handled. Brooks marches upto the Marches’ door and knocks Laurie attempts to console sobbing Amy: BROOKS. ‘Theodore, you have Latin! ‘Ashe knocks quite hard the dor swings open on Brooks—its ‘Mag she been doing housework andi wiping her hand on ‘an apron. Brooks looks at her, stunned—his hand keeps Jnockng on empty ait MEG. Ye? Long pause. (Can Thelp you? Brooks finaly able fo tp knocking but cust speak. LAURIE, —I, uy, found a damsel in distress upon your snowbank. Jo has crowded behind Meg Beth bend fa MBG, Amy; what are you doing here? 10. Christopher Columbus, why arent you in school! Bet heads towards Amy and wore touches her, consoling. ‘Amy bursts into even noir tears. [MEG. Plesse excuse us, Mr— Brooks cannot speak Beth holds on to Amy, supporting her into the house AM, I want to tale to Marmee— MEG. Me—? AMY. (Rely sobbing) WANT TO TALK TO Marmest (MBG, Please excuse us! _Meg shuts the door qc leaving Jo outside the slam brings “Brooks back to He. BROOKS. Brooks. John Brooks, Hestands staring atthe dor 23 LAURIE, (Gesturng afer Amy with the handkerchief she dropped.) She may need this JO, (Friendly taking the han) Ifshe's the dame! in distress, you ‘must be the knight in shining armor? Laurie makes «fake blow of a trumpets charge. BROOKS. Theodore... Latin, (Reminding himself) LATIN! Brooks stagers back towards the Laurence house. Lawrie pulls a face, wise ashe goes tn—the tune Jo whist to him atthe pana. MEG. (Offtage.) Jo! Jo goes inside. Scene 5 Amy sts eryng. Beth massages Amy’ lapped hand—Meg consoles Jo hangs back abit afer handing off the hank to Mag with raised eyebrows. MARMBE. There’ enough violence in the country without men biting lite gil ‘AMY, Tim not litle gel! |MARMEE. You can take leave from school for now, Amy— ‘AMY. Huzzah! [MARMEE, —and be ttored by me at home, instead. AMY. Oh. MARMEE, “Oh” And no limes in my classroom, ‘MEG, Lets wash your face ‘Se leads Amy out of the room JO. Marnes, we ll had to survive school—why shouldnt she? ‘MARMEE, You liked school BETH. I got to stay home, fo. JO. Yes, Beth, but youre—you'te my conscience, is what you are, 4 and Amys terribly spot: What kind ofesson will she lean? MARMEE, —Look at Betis flowers, wil you? JO. Marmee, please—no analogies. MARMEE, Here's violet How do we care for it, Beth? BETH, ‘They like things calm—not too hot or cold, And they like the shade of other plants, o we pot them with thelr relations -MARMEE, And here arose: What does t need? BETH, You have to putt where sun is! And its delicate; you have to give it support, or it wos thrive. JO. Ow, BETH. —thors, [MARMEE, ‘The zose would wil if she gave it the care of another flower and the violet to, One ist better than the other. They just ‘need diferent things to grow JO. SoifBeth isa violet— BETH. (Surprised) Ob! JO, And Amy arose—what is Meg? BETH. (Delighted o ply the game.) A—Daisy! She bloomed before allthe others! JO, Then Lam... Moss Dit (Saaps) A rock, MARMEE, You are—whatevr yout supposed tobe Look t them: Arent they beatifl together? Mag and Amy returns Amy’shand is wrapped ina comcally large bandage ‘MEG, ‘The wound is slved—with Mr. Laurence’ hankie, no less AMY, Hs NAMB is LAURIE. JO, Laurie Laurence Thats terrible -MARMEE, I want to hear llabout him, and about the rest of your

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