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West Coast premiere
By Kate Hamill
Based on the novel by Louisa May Alcott
Directed by Sarah Rasmussen
In association with Dallas Theater Center
Louisa May Alcott’s classic novel of the March sisters is beloved by generations of readers. Now her heartfelt story of Jo March and her three unforgettably distinct sisters, Meg, Beth, and Amy, comes to the stage in a brand-new version that honors the spirit of Alcott’s original while freshly interpreting it for a new era. The Wall Street Journal named the prolific and widely produced Kate Hamill Playwright of the Year. Her sparkling adaptation will have audiences falling in love with the March sisters all over again as they grow from young girls to little women.
Running time: Two hours and 15 minutes, with one 15-minute intermission.
Kate Hamill (Playwright) is an actor and playwright who was named The Wall Street Journal’s Playwright of the Year in 2017. Her work includes her play Sense & Sensibility, in which she originated the role of Marianne, and which played Off Broadway for over 265 performances (Off Broadway Alliance Award; Drama League Award nomination). Her other plays include Vanity Fair, in which she originated the role of Becky Sharp (The Pearl Theatre Company; Off Broadway Alliance Award nomination), and Pride & Prejudice, in which she originated the role of Lizzy (Primary Stages, Hudson Valley Shakespeare Festival; Off Broadway Alliance Award nomination). Her plays have been produced Off Broadway and at Guthrie Theater, American Repertory Theater, Oregon Shakespeare Festival, Seattle Repertory Theatre, Dallas Theater Center, PlayMakers Repertory Company, Folger Theatre (eight Helen Hayes Award nominations), Arvada Center for the Arts and Humanities, Dorset Theatre Festival, Shakespeare Theatre Company, American Conservatory Theater, Primary Stages, Portland Center Stage, Syracuse Stage, Pittsburgh Public Theater, Kansas City Repertory Theatre, Trinity Repertory Company, and more. Hamill’s recent world premieres include Little Women (Jungle Theater) and Mansfield Park (Northlight Theatre). She is currently working on new adaptations of The Odyssey for American Repertory Theater and The Scarlet Letter, as well as several new original plays: Prostitute Play, In the Mines, Love Poem, and The Piper.
Sarah Rasmussen (Director) is Artistic Director of Jungle Theater. She was recently chosen as the Minneapolis Star Tribune’s Artist of the Year and selected for the BOLD Theater Women’s Leadership Circle. Rasmussen has directed at theatres including Dallas Theater Center, Oregon Shakespeare Festival, Guthrie Theater, Marin Theatre Company, and Humana Festival. She is the recipient of the Princess Grace Award and Drama League and Fulbright Scholar fellowships. She was formerly Resident Director for Oregon Shakespeare Festival’s Black Swan Lab new work development program and Head of M.F.A. in Directing at The University of Texas at Austin. She received her M.F.A. from UC San Diego. srasmussen.com.
Dallas Theater Center (Co-Producer), one of the leading regional theatres in the country and the 2017 Regional Theatre Tony Award recipient, performs to an audience of more than 100,000 North Texas residents annually. Founded in 1959, Dallas Theater Center is now a resident company of the AT&T Performing Arts Center and presents its mainstage season at the Dee and Charles Wyly Theatre and at its original home, the Kalita Humphreys Theater. Dallas Theater Center is one of only two theatres in Texas that is a member of the League of Resident Theatres (LORT), the largest and most prestigious not-for-profit professional theatre association in the country. Under the leadership of Enloe/Rose Artistic Director Kevin Moriarty and Managing Director Jeffrey Woodward, Dallas Theater Center produces a season-ticket series of classics, musicals, and new plays and an annual production of A Christmas Carol; extensive education programs, including the award-winning Project Discovery and partnerships with Southern Methodist University’s Meadows School of the Arts and Booker T. Washington High School for the Performing and Visual Arts; and many community collaboration efforts with local organizations. In 2017, Dallas Theater Center launched Public Works Dallas, a groundbreaking community-engagement and participatory-theatre project designed to deliberately blur the line between professional artists and community members, culminating in an annual production featuring over 200 Dallas citizens performing a Shakespeare play. Throughout its history, Dallas Theater Center has produced many new works, including recent premieres of penny candy by Jonathan Norton; Miller, Mississippi by Boo Killebrew; Hood: The Robin Hood Musical Adventure by Douglas Carter Beane and Lewis Flinn; Bella: An American Tall Tale by Kirsten Childs; Clarkston by Samuel D. Hunter; The Fortress of Solitude by Michael Friedman and Itamar Moses; Giant by Michael John LaChiusa and Sybille Pearson; and many more. As a member of LORT, Dallas Theater Center operates under the LORT agreement with Actors’ Equity Association, Stage Directors and Choreographers Society, and United Scenic Artists.
Wilson Chin (Scenic Design) returns to The Old Globe after designing Tiny Beautiful Things, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Rich Girl, Othello, The Winter’s Tale,and Anna Christie (Craig Noel Award nomination). He designed the world premieres of Next Fall (Broadway), Pulitzer Prize winner Cost of Living (Manhattan Theatre Club), Pass Over (Steppenwolf Theatre Company, LCT3; Lucille Lortel Award nomination), Wild Goose Dreams (The Public Theater, La Jolla Playhouse), The Thanksgiving Play (Playwrights Horizons), Teenage Dick (Ma-Yi Theater Company, The Public Theater), Aubergine (Berkeley Repertory Theatre), My Mañana Comes (The Playwrights Realm), The Great Leap (Denver Center for the Performing Arts Theatre Company, Seattle Repertory Theatre), and Lewiston (Long Wharf Theatre). His opera designs include Lucia di Lammermoor (Lyric Opera of Chicago) and Eine Florentinische Tragödie/Gianni Schicchi (Canadian Opera Company; Dora Mavor Moore Award). His film and television designs include Spike Lee’s Pass Over and the NBC series “Blindspot.” @wilsonchindesign.
Moria Sine Clinton (Costume Design) has designed for the television series and films “Dickinson,” Gemini Man, “Hunters,” “The Americans,” “The Who Was? Show,” and “The Marvelous Mrs. Maisel.” Her New York theatre credits include The Public Theater, Cherry Lane Theatre, Atlantic Theater Company, The Playwrights Realm, National Asian American Theatre Company, The Juilliard School, WP Theater, and Theatre for a New Audience. Her regional credits include Dallas Theater Center, Guthrie Theater, Northern Stage, Jungle Theater, Oregon Shakespeare Festival, ZACH Theatre, Syracuse Stage, Asolo Repertory Theatre, Palm Beach Opera, La Jolla Playhouse, and Yale Repertory Theatre. She has won OPERA America’s Robert L.B. Tobin Director-Designer Showcase (2015), Ivey Awards for Jungle Theater’s Le Switch (2013) and In the Next Room, or the vibrator play (2016), Austin Critics Table Award (2014), and Leo Lerman Graduate Fellowship in Design (2009). She is a graduate of Yale School of Drama. moriaclinton.com.
Marcus Dilliard (Lighting Design) has designed for theatre and opera across North America and in Europe, most recently for Ride the Cyclone (Jungle Theater), Don Giovanni (Pittsburgh Opera), and All Is Calm (Theater Latté Da). Dilliard is the recipient of an Ivey Award, a Sage Award, and two McKnight Theater Artist Fellowships. He is a professor in the department of Theatre Arts & Dance at University of Minnesota and is a graduate of Boston University’s School for the Arts.
Sean Healey (Sound Design) is based in Minneapolis, where his work includes many productions with Jungle Theater, Children’s Theatre Company, Open Eye Figure Theatre, Guthrie Theater, and Theater Latté Da. His other credits include The New Victory Theater, Arizona Theatre Company, Seattle Children’s Theatre, Chicago Children’s Theatre, Mark Taper Forum, Cornerstone Theater Company, and ZACH Theatre. He received his B.F.A. from California Institute of the Arts, class of 1997.
Earon Chew Nealey (Wig and Makeup Design) is a wig, hair, and makeup designer. She was Associate Makeup Designer for Sweat on Broadway, and her other design credits include Oklahoma! and Always…Patsy Cline (Weston Playhouse Theatre Company), Mojada (The Public Theater), Memphis and Dreamgirls (Cape Fear Regional Theatre), Cadillac Crew and Twelfth Night (Yale Repertory Theatre), and Matilda the Musical (Colorado University).
Robert Elhai (Original Music) is a composer/arranger/orchestrator based in Minneapolis, where his theatre work includes C. (Theater Latté Da), Twisted Apples (Nautilus Music-Theater), and Dirty Business (History Theatre), as well as the original production of Kate Hamill’s adaptation of Little Women. His work can be heard in the Broadway production of The Lion King, as well as Emmy, Grammy, and Academy Award–winning programs, including some 150 films, among them Crazy Rich Asians, Fences, Avengers: Age of Ultron, Across the Universe, and most of The Fast and the Furious series. robertelhai.com.
Kristin Leahey, Ph.D. (Dramaturg) has held artistic positions at theatres such as Seattle Repertory Theatre and Woolly Mammoth Theatre Company. Her dramaturgy credits include works with Primary Stages, Classical Stage Company, Oregon Shakespeare Festival, Playwrights’ Center, Trinity Repertory Company, Eugene O’Neill Theater Center, Denver Center for the Performing Arts Theatre Company, Guthrie Theater, Steppenwolf Theatre Company, Goodman Theatre, Lark Play Development Center, The Kennedy Center, Indiana Repertory Theatre, Victory Gardens Theater, Teatro Vista (Artistic Associate), Steep Theatre Company (Artistic Associate), and Galway International Arts Festival, among others. She is an assistant professor at Boston University.
Joel Ferrell (Movement Coach) was previously Associate Artistic Director of Dallas Theater Center, where his credits include The Rocky Horror Show, Joseph and the Amazing Technicolor Dreamcoat, Cabaret, A Christmas Carol (as director and choreographer); It’s a Bird... It’s a Plane... It’s Superman, A Midsummer Night’s Dream, The Who’s Tommy, and My Fair Lady (as choreographer). Ferrell is a former Artistic Director of Casa Mañana. He has worked extensively around the country, for Portland Center Stage, Paper Mill Playhouse, Ford’s Theatre, Lyric Theatre of Oklahoma, and North Shore Music Theatre, among others.
Kelly Gillespie, CSA (Casting) is the Casting Director at Manhattan Theatre Club, where her recent favorites include Ink and Choir Boy. He other credits include Our Dear Dead Drug Lord, What We’re Up Against, Sundown Yellow Moon, Ironbound, Dear Elizabeth, and Bright Half Life (WP Theater), The Curious Incident of the Dog in the Night-Time, Angels in America, Residence, Seven Guitars, 4000 Miles, Dot, The Roommate, and Eat Your Heart Out (Actors Theatre of Louisville), Wink and Swimmers (Marin Theatre Company), The Good Person of Szechwan (The Foundry Theatre/The Public Theater), and Melancholy Play, A Map of Virtue, The Zero Hour, and Monstrosity (13P), as well as 12 productions with The Actors Company Theatre and six seasons with Keen Company.
Megan Winters (Production Stage Manager) served as the stage manager of Dallas Theater Center productions of As You Like It (Public Works Dallas), Twelfth Night, Steel Magnolias, Hairspray, The Great Society, A Christmas Carol (2015–2017), Hair, The Christians, Dreamgirls, Romeo and Juliet, Colossal, The Book Club Play, Driving Miss Daisy, Sherlock Holmes: The Final Adventure, Oedipus El Rey, Clybourne Park, Red, and Tigers Be Still. She was assistant stage manager of Hood: The Robin Hood Musical Adventure, Bella: An American Tall Tale, Fly (also New York workshop), The Elaborate Entrance of Chad Deity, and The Tempest. And she served as a production assistant for Dividing the Estate, The Trinity River Plays, and A Christmas Carol (2009). Winters worked the grand opening of the AT&T Performing Arts Center, and she has enjoyed working for Alley Theatre, Second Thought Theatre, Shakespeare Dallas, Ogunquit Playhouse, Olney Theatre Center, and The REP.
This series provides Old Globe patrons with an opportunity to closely connect with productions both onstage and backstage. A panel selected from the artistic company of each show (playwrights, actors, directors, designers, and/or technicians) engages patrons in an informal and illuminating presentation of ideas and insights to enhance the theatre going experience. Each Insights Seminar takes place 90 minutes before curtain time on the Tuesday after performances begin, and includes an informal reception 30 minutes before the start. FREE; no reservations necessary.
Tuesday, March 17, 2020 at 6:00 p.m.
Join us after the show for an informal and enlightening question-and-answer session with cast members. Get the "inside story" on creating a character and putting together a professional production. Post-show forums are scheduled after select Tuesday and Wednesday evening performances. FREE; no reservations necessary.
Tuesday, March 24, 2020
Tuesday, March 31, 2020
Wednesday, April 8, 2020
Explore the ideas and issues raised by a production through brief, illuminating post-show discussions with local experts, such as scientists, artists, historians and scholars. Subject Matters will ignite discussion, bring the play's concerns into sharp focus, and encourage you to think beyond the stage! Subject Matters discussions follow select Saturday matinee performances. FREE; no reservations necessary.
Saturday, March 21, 2020
Open captioning is live text displayed simultaneously to the performance and does not require the user to have any special equipment for viewing the text. Please contact our Ticket Services Department at (619) 23-GLOBE (234-5623) or Tickets@TheOldGlobe.org to purchase tickets within view of the captioning screen. Tickets for open-caption performances go on sale on the single-ticket on-sale date and are subject to availability. Support for open captioning is provided in part by TDF. This project is supported in part by an award from the National Endowment for the Arts.
Saturday, April 4, 2020 at 2:00 p.m.