LEHI — On Monday, May 6, 2025, the Lehi Arts Council presented Little Women: The Musical at their community venue in Lehi, Utah. Originally scheduled to open the Friday before, the show was postponed due to illness in the cast or crew. Despite this minor setback, the production is polished and full of energy. Directed by Rex Kocherhans and produced by Cali Wilkes, the production surprised me with its quality, heart, and professionalism. With standout performances, a well-rehearsed ensemble, and effective technical design, Little Women is a wonderful and memorable experience that exceeds expectations at every turn.
Written by Allan Knee, with lyrics by Mindi Dickstein, and music by Jason Howland, the success of this production’s adaptation of Louisa May Alcott‘s book is a testament to the vision and leadership of Rex Kocherhans, whose direction brings cohesion and clarity to a story that can easily become disjointed if not handled carefully. The show runs smoothly and confidently under the watchful coordination of stage manager Lindsey Sampson, and every scene transitions effortlessly, without dead space or awkward pacing. The world they create onstage feels lived-in and authentic – no small feat for a musical that spans many years and includes many emotional milestones.
PERFORMANCES
At the heart of the production is Bo Chester as Jo March, who delivers what I can honestly say is my favorite portrayal of Jo I’ve seen on stage. Chester fully embodies Jo’s spirit, humor, and fierce independence with warmth and complexity. Her vocals are effortless, and she holds the audience in the palm of her hand from beginning to end.
Felicia Kelso as Meg, Mila Brown as Beth, and Taylor Ann Jaeger as Amy round out the March sisters with equally thoughtful performances. Each actress brings nuance to her respective role and helps to create a genuine, believable sisterhood onstage. Jaeger’s Amy, in particular, walks the fine line between bratty entitlement and sincere affection with surprising ease. Her portrayal manages to be endearing even in Amy’s most frustrating moments, and that balance adds depth to the character. Brown’s gentle, soft-spoken Beth is emotionally affecting, especially in her later scenes, while Kelso’s Meg adds grounded maturity and tenderness.
Vicki Bushnell portrayed Aunt March, and while she is certainly committed to the role, Bushnell’s performance seemed in want of some of the nuance that the other actresses skillfully possessed. On a similar note, the male actors, while weaker in vocals than those from the women, were still wisely cast. Each actor brings sincerity and individuality to his character, making the relationships feel true and engaging. While some accents occasionally waver, the charm and clarity of character more than compensates for any historical inaccuracy. Overall, the acting proves to be a highlight of this production, especially with the lead actresses.
DESIGN
Two technical elements especially stood out: sound and lighting. While not always the case for smaller venues, the overall sound quality is exceptional here at Lehi Arts. Jonas Simon, the sound operator, ensures that every microphone works perfectly—there are no distracting pops, cuts, or imbalances. Volume levels are just right, and transitions between music and dialogue are impressively seamless. It’s rare to see a community production where sound perfectly fades into the background because it’s done so well, but that is the case with Simon’s skill.
Similarly, the lighting design by Elizabeth Griffith adds another level of polish and strength to the storytelling. Particularly effective are the changes in color used during Jo’s storytelling sequences. The use of lighting to shift focus and underscore dramatic moments is clean, effective, and perfectly timed. Rather than distracting from the action, (an easy thing to do with bold lighting choices), the lighting deepened the heart of the show.
The set, designed by Derrick Cain, showcases resourcefulness. Rather than trying to build elaborate, scene-specific locations, Cain uses a small number of staple items—most notably a surprisingly versatile couch—and dresses them differently with simple accessories to suggest various homes and rooms. Combined with slight rearrangements and lighting changes, this approach allows the show to move fluidly between scenes without lag or long blackouts. Cain’s ingenious design is a great example of how creative thinking is often more important than a big budget.
Altogether, Little Women at Lehi Arts Council is a delight. I observed that my showing drew audible reactions from the audience—laughter, sighs, and even quiet sniffles—demonstrating to me just how effectively it connected on an emotional level. It’s worth noting, too, that the show is priced affordably, making it accessible to a wide range of audiences without sacrificing production quality. That combination—affordability and excellence—is rare in this realm, and absolutely worth celebrating.
I left the theater feeling uplifted and impressed. This is more than just a community production—it is a clear labor of love, staged by people who know what they’re doing and care deeply about the work. Based on the strength of this show alone, I would absolutely attend another production at this venue. If Little Women is any indication of quality, the Lehi Arts Council is producing work that deserves attention and support.
