HS Theatre Review: Little Women Presented by the College Park High School Fine Arts Department

January 15–17, 2026

College Park High School Theatre, The Woodlands, Texas

The College Park High School Fine Arts Department delivered an ambitious, emotionally grounded, and impressively polished production of Little Women, bringing Louisa May Alcott’s classic novel vividly to life over four performances in mid-January. With more than 100 cast and crew members involved, this was not simply a theatre production—it was a full-scale Fine Arts collaboration that showcased the depth of talent across Theatre, Orchestra, Choir, Dance, and Marching Band.

Often, theatre companies attempt to reimagine Little Women in a more modern context. College Park High School wisely resisted that temptation, remaining true to Alcott’s original story and historical timeframe. This authenticity was strongly anchored by the costume design department, led by V.M. Parker, whose work firmly rooted the production in the 1860s. Director Valerie Labonski chose to keep the show faithful to the novel, a decision that requires discipline, restraint, and confidence in the cast—confidence that proved well placed, as the actors rose to the challenge.

Lead & Principal Performances

This production allowed audiences to experience the timeless story of four sisters determined to live life on their own terms.

Cast Members

Director Valerie Labonski’s cast shines throughout the performance:

Olivia Labonski as Jo March, the production benefits from a performer uniquely suited to the role. A senior and veteran of the College Park stage in both theatre and orchestra, Labonski’s background as a triple-threat musician, singer, and actress allows her to fully inhabit Jo’s restless intelligence and creative fire.

Olivia Labonski as Jo March

She brings a rare combination of physical presence, emotional precision, and vocal strength to the character, using movement as intentionally as dialogue to convey Jo’s ambition, frustration, and independence. Known for her exceptional voice, Labonski delivers each musical moment with clarity and control, while her acting balances Jo’s stubbornness and drive with warmth and vulnerability. Her command of the stage anchors the production and provides continuity across the show’s many emotional turns, creating a strong emotional throughline that pulls the audience along from beginning to end. This role fully showcases her range and maturity as a performer and stands as her most complete and compelling performance on the College Park stage.

Manya Gershkowitz as Marmee March delivered one of the evening’s most affecting performances. Her physical choices—posture, movement, and pacing—convincingly communicated the presence of an older woman, to the point that it was easy to forget she was a high school junior. Gershkowitz’s solo, Here Alone, was a standout moment, marked by emotional restraint, thoughtful phrasing, and impeccable pacing that allowed the song’s weight to land naturally.

Josephina Green (Class of 2027) is perfectly cast as the gentle and soft-spoken Beth March, bringing a quiet emotional depth that adds tenderness and warmth to the production. Her love of music feels organic and heartfelt, reinforcing Beth’s role as the emotional soul of the March family. Green demonstrates exceptional skill in both physical and facial acting, crafting a portrayal of illness and fragility that is deeply believable. In scenes involving the wheelchair, her subtle movements and nuanced expressions convey genuine vulnerability rather than theatrical exaggeration, creating moments of sincere emotional resonance that linger with the audience.

Marla Ventura delivers a solid performance as the youngest—and sometimes polarizing—sister Amy, bringing complexity and visible growth to the role as the character matures.

Juliet Loftis is a delight as Meg March, the sister who dreams of a more traditional home and family life, grounding the story with sincerity and warmth.

Sara Bong, a senior, delivered a complete and intentional transformation in her role as Aunt March. Her portrayal of “the most unpleasant old woman imaginable” was executed with precision and purpose, demonstrating a clear understanding of how to embody a character meant to challenge and unsettle the world around her. Bong used deliberate pacing and carefully measured line delivery to create tension, showing exactly how a formidable presence should function within a production. Her performance was commanding without being exaggerated, and her control of tone and physicality reinforced Aunt March’s authority and influence over the story. The contrast between this role and Bong’s naturally lively offstage personality only underscored the depth of her acting range, making her portrayal a standout example of how to deliver a character with villainous intent effectively and convincingly on stage.

Supporting Roles

While the men in the production often serve as reflections of the women’s choices and ambitions, their performances leave a clear and lasting impression. Alton Hollis as Laurie Laurence brings notable emotional range and restraint to the role. His understated delivery keeps scenes grounded and authentic, and his ability to elevate fellow performers rather than dominate the stage reflects a level of theatrical maturity rarely seen at the high school level. David Reyes stands out as John Brooke, offering a sincere and steady performance, while Andrew Brown brings quiet strength and thoughtful nuance to Professor Bhaer, the man who ultimately earns Jo’s heart and respect.

Pit Orchestra & Musical Excellence

The pit orchestra, conducted by Emmanuel Peralta-Coraza, received one of the highest compliments possible: within the opening moments of the score, it became easy to forget that the music was being performed live. The orchestra blended seamlessly with the action on stage, matching pacing, emotion, and dynamics with remarkable precision.

Theatre Pit Orchestra

Each student musician earned their place through a competitive audition process, resulting in an ensemble made up of some of the top instrumentalists in the program. Among them were three All-State performers: Derek Walker – Flute, Alan Rodriguez  – English Horn Ranked as the third-best high school in the entire state of Texas and Gabriel Gonzalez – Clarinet Two-year All-State member.

The orchestra’s discipline and musical sensitivity elevated the production significantly, reinforcing emotional beats without drawing attention away from the performers—an achievement that speaks volumes about both the musicians and their leadership.

Stage Management

No production is complete without a skilled stage manager quarterbacking the show, and for Little Women, Rylee Jowziak kept the entire production firmly on track. Her impact was felt most clearly during rehearsals, where changes were handled efficiently and calmly, allowing the creative team and performers to adapt without disruption. Jowziak demonstrated an impressive ability to stay one step ahead of the production at all times, ensuring that set changes were smooth, timely, and well coordinated—an essential but often unseen contribution that elevated the overall professionalism of the show.

Production Crew

Sound DesignOne of the most significant challenges in any high school production lies on the technical side, particularly sound. This production benefited from the steady hands of Olivia McClain and Hailey Kimpel, who managed the wireless microphones with precision and consistency. Vocal clarity, balance, and volume were handled exceptionally well throughout the performance, allowing both dialogue and music to be heard cleanly without distraction—no small achievement in a production of this scale.

Lighting DesignOn the lighting front, Ella Vandesande delivered flawless timing and seamless transitions that enhanced both the storytelling and the visual rhythm of the show. Her lighting choices supported the mood of each scene while remaining unobtrusive, and her attention to detail extended beyond the performance itself to the photo call, where cues were executed with the same level of care and professionalism.

Production Team Leadership

A production of this scope succeeds only through strong leadership behind the scenes. The following members of the production team were instrumental in shaping Little Women into a polished and unified performance:

• Valerie Labonski – Director: Provided clear artistic vision and cohesive storytelling, guiding performances with consistency and emotional clarity.

• Erin Bodhaine – Vocal Director: Ensured strong ensemble balance, healthy vocal technique, and expressive musical storytelling across the cast.

• Emmanuel Peralta-Coraza – Conductor: Led the pit orchestra with precision and sensitivity, achieving seamless integration with onstage action.

• Chris Beineman – Technical Director & Set Designer: Oversaw technical execution and scenic design, supporting smooth transitions and visual storytelling.

• Jeff Gorring – Music Director: Anchored the musical foundation of the production, coordinating vocals and instrumentation with discipline and nuance.

• Alison Lowrey – Choreographer: Created movement that enhanced character and narrative without distracting from the emotional core of the scenes.

• Katja Rivera Yanko – Song Interpretation Coach & Production Advisor: Played a crucial role in refining emotional delivery and helping performers connect intention to music.

Their combined leadership allowed student performers and technicians to operate at a high level while maintaining clarity, cohesion, and artistic integrity throughout the production.

Final Impression

The ensemble blends beautifully, creating a solid and heartfelt production that is a true delight to watch. Combined with stunning period costumes, disciplined performances, and a deep respect for the original text, it is easy to see why audiences fell in love all over again with Little Women.