Goodspeed Musicals has launched 91 world premieres, and its newest one feels ready to join the theater’s long line of productions that later reached Broadway. The Snow Goose, written by Scottish musical-theater team Scott Gilmour and Claire McKenzie and directed by Marshall Pailet, is based on Paul Gallico’s 1941 novella. Goodspeed optioned the book in 2022 and developed the musical through readings, workshops, and its 2024 Festival of New Musicals. That work shows. This isn’t a production waiting to become something. It has arrived.
On the Essex coast of England, Frith discovers a wounded snow goose and carries it to Philip, a reclusive artist who lives in an abandoned lighthouse. The villagers have turned Philip into the frightening figure from a local legend because his body looks different from theirs. As Philip and Frith care for the bird they name Princess, a friendship develops that changes both of them. Their story unfolds over several years before World War II brings a new danger to their isolated corner of England.
Gilmour and McKenzie’s score begins in the English folk tradition and grows into something sweeping without losing its connection to the people telling the story. The individual voices are terrific, but the company numbers are glorious. When the entire cast comes together, the harmonies rise through the Goodspeed Opera House with enough power to make that beautiful little theater feel twice its size. Adam Souza leads a nine-piece onstage orchestra that gives the music warmth, texture, and plenty of force when the story calls for it.
Misha Shields’s choreography is brilliant. Lanterns carry us across the marsh, a maypole brings the village to life, and leaves, snow, and flower petals mark the passing years. The changing seasons are so clearly built into the movement that there’s never any question about where we are or how much time has passed. It’s choreography doing essential storytelling, and it contains some of the most beautiful moments in the production.
Nicholas Mahon’s puppetry gives Princess a real personality. Different forms allow the goose to heal, grow, and fly, while the visible puppeteers become part of her movement rather than disappearing behind it. Leah Hofmann leads that work beautifully. Emmie Finckel’s marshland set is filled with platforms, hidden corners, and room for the musicians, while Aja M. Jackson’s lighting can turn the same space from warm and inviting to eerie in seconds. Mallory Kay Nelson’s costumes root the musical in a working 1930s fishing community through layers of worn, practical knitwear and a gorgeous palette drawn from the colors of the marsh at sunset.
Eric Graise gives Philip warmth, humor, strength, and a guardedness that makes complete sense for a man who has spent years being treated as something to fear. Ashlyn Maddox is a wonderful Frith, moving convincingly from a stubborn young girl into a woman beginning to understand the larger world around her. Their voices are tremendous, and their relationship gives the musical its heart. Sam Sherwood’s guitar-playing Bard guides the story without ever feeling removed from it, and Ally Bonino’s rich voice gives Harper some of the evening’s loveliest music.
The production also handles Philip’s disability with unusual care, both in Graise’s casting and in the work of disabled artists behind the scenes. The villagers may view Philip as a lesson they need to learn, but the musical gives him desires, anger, humor, talent, and choices of his own. His disability matters, but it never becomes the only thing the story can see.
From its first folk song to its final image, The Snow Goose is a beautiful piece of musical theater. The score, performances, puppetry, design, and choreography are all working at a remarkably high level. Goodspeed has created a superb world premiere that deserves a long life.
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Through October 18
Goodspeed Opera House
6 Main Street
East Haddam, CT
For tickets and information:
CAST & CREATIVE:
Sam Sherwood - The Bard
Charlie Webb - Wilf
Ayanna Nicole Thomas - Clara
Ashlyn Maddox - Frith
Gabriel Marcus Omlor - Farley
Eric Graise - Philip
Amy Hillner Larsen - Ms. Rumsey
Ally Bonino - Harper
David Aron Damane - Garrick/Ensemble
Alan Chandler - Ensemble
Matthew Davies - Ensemble
Leah Hofmann - Ensemble/Lead Puppeteer
Kiersten Kelly - Ensemble
Sophia Anna O’Brien - Ensemble
Patrick Tombs - Ensemble
John Viggiano - Ensemble
Scott Gilmour and Claire McKenzie - Writers
Paul Gallico - Author of the original novel
Marshall Pailet - Director
Misha Shields - Choreographer
Adam Souza - Music Director
Emmie Finckel - Scenic Designer
Mallory Kay Nelson - Costume Designer
Aja M. Jackson - Lighting Designer
Jay Hilton - Sound Designer
Nicholas Mahon - Puppet Designer
J. Jared Janas and Cassie J. Williams - Wig, Hair, and Makeup Designers
Claire McKenzie - Orchestrations
Emily Reutlinger - Associate Director
Wes Dziedzic - Associate Music Director
Talleri A. McRae - Access Consultant
Geoff Josselson Casting - Casting
Chris Zaccardi - Production Stage Manager
Diane Soboelwski - Production