The generally impressive 2026 season at the Ivoryton Playhouse (I’ve managed to conveniently forget “I’m Connecticut”), shows the loPity the poor actors at Goodspeed who are currently trying to share the stage with Princess, the title character in the world premiere musical, The Snow Goose. Lead puppeteer Leah Hoffman helps bring Princess to life and you cannot take your eyes off the beautiful white bird for a single minute. When she’s offstage, unfortunately, the show seldom soars.
Based on Paul Gallico’s beloved 1941 novel set in the Essex marshlands, this new musical, by Scott Gilmour and Claire McKenzie, expands on the original novel covering seven years leading up to World War II. It concerns outsider Philip (Eric Graise), an amputee, and Frith (Ashlyn Maddox), a young local girl who meets him when they discover a wounded bird. For the musical, the authors have given Frith a circle of family and friends including her overprotective guardian Harper (Ally Bonino), potential boyfriend Wilf (Charlie Webb), girlfriend Clara (Ayanna Nicole Thomas), and Clara’s future husband, Farley (Gabriel Marcus Omlor). The key role of “The Bard”, who narrates the story and plays a mean guitar, is played by Sam Sherwood.
The Snow Goose is a very sentimental but often moving story that charts the growing friendship between Philip and Frith, even as her community objects to her relationship with the loner. In opening up the novel for the stage, the slim story has been significantly expanded but not necessarily for the better. Both Harper and Wilf, who seem to have Fritha’s best interests at heart, are not very good people as written – intolerant and intrusive bigots. Two town oddballs and apparent comic relief, Garrick (David Aron Damane) and Mrs. Rumsey (Amy Hillner Larsen), are played so broadly that you wonder why director Marshall Pailet allowed such character excess.
As for the score, it recalls “Once”, the Irish musical which was a 2012 Tony winner on Broadway, but otherwise doesn’t linger in the mind. Several power ballads are delivered by a strong ensemble, though Maddox’s voice becomes strident on the high notes. Graise’s magnificent vocals, however, show a singer capable of great range, whether he belts or quietly compels you to listen.
The story is a manipulative tearjerker that many will nonetheless quickly embrace – I heard sniffles all around me at my performance. That’s fine and, at Goodspeed, credit must be given to the magical stagecraft on display from Aja J. Jackson’s magnificent lighting design, and the beautiful creation that is Princess. She has personality and great beauty brought to breathtaking life by the invaluable Hoffman, along with others who aid in the awe-inspiring flight sequences. This is truly what theatre alone can do.
In general, the ensemble is robust and working hard playing multiple roles. The big reveal about “The Bard”, however, (without a spoiler here) would work better if more care in casting were in evidence. The set piece that has Philip taking his boat to the battle at Dunkirk is also another example of the remarkable stage magic at Goodspeed. As usual, music direction by Adam Souza is superb, with his talented orchestra carefully settled into Emmie Finckel’s resourceful scenic design. This world premiere may ultimately become a favorite for regional theatres and family audiences across the country. They’d better hire Princess now.
The Snow Goose continues at Goodspeed Musicals, 6 Main Street, East Haddam, Connecticut through October 18, 2026. For further information or ticket reservations call the theatre box office at 860.873.8668 or visit: www.goodspeed.org.
Tom Holehan is one of the founders of the Connecticut Critics Circle, a frequent contributor to WPKN Radio’s “State of the Arts” program and the Stratford Crier and Artistic Director of Stratford’s Square One Theatre Company. He welcomes comments at: tholehan@yahoo.com. His reviews and other theatre information can be found on the Connecticut Critics Circle website.
