Here’s a great essay by Klara Stephanie Szlezák where she concludes that staging is critical to the success of an historical homestead. Kudos to Orchard House for the brilliance of its staging which so beautifully captures not just the era Louisa May Alcott lived in, but her home, her family and her classic, Little Women.
The first few paragraphs are here for you to read; there is a link at the end to the rest of the article.
“Welcome to Our Home!”: Staging Practices at Louisa May Alcott’s Orchard House
Klara Stephanie Szlezák
In March 2009, the popular travel guide series Lonely Planet published a volume called New England Trips providing a broad range of themed itineraries through the six New England states. One of these itineraries is called “Literary New England,” leading the traveler on a three- to four-day trip with stops at libraries, inns and tearooms named for famous writers, as well as at houses where New England writers used to live, thus taking into account the long tradition and central role of literary tourism in New England. One of the writers’ houses that the guide suggests for a stop is the Alcott family’s house in Concord, Massachusetts. With over 50,000 visitors per year (Orchard House Website), the Alcotts’ former house, officially called Louisa May Alcott’s Orchard House,2 is one of the most popular and successful literary sites. The Lonely Planet invites the traveler to visit there with the following comment: “Louisa May Alcott wrote her famous semiautobiographical Little Women in her home Orchard House, which is now part of a small estate of historical buildings called Louisa May Alcott Homes” (New England Trips 53). This short note establishes two major facts about Orchard House: one, that it is a house where a famous writer wrote a famous book;3 and two, that it is a historical building and thus of general interest.
What the guidebook text does not say about Orchard House, and what seems much more noteworthy for the purposes of a cultural analysis, is that one of the house’s major functions is that of a stage. When it comes to determining the cultural significance of the house and the ways in which it functions in a twenty-first-century tourist landscape I would argue that both its literary association and its historicity are mere prerequisites and preconditions for the staging of traditions. I argue that the staging of traditions is a central characteristic of the house and lies at the heart of present-day interest in the house and thus its survival in times when many comparable sites struggle severely to stay open.4