Goodspeed Opera House, East Haddam, CT
Review by Simon Brighenti
From Daedalus to Dickenson, wings, feathers, and flight have served as something beyond a purely avian attribute. The story of Daedalus and his son Icarus serves as a cautionary tale of the futility of “flying too close to the sun.” On the other hand, Emily looks at hope as the thing with feathers.
Kahlil Gibran, Lennon & McCartney and even an obscure ‘80’s pop band use the “broken wings” metaphor in their works about love and relationships.
"The Snow Goose," a brilliant new musical directed by Marshall Pailet playing at the Goodspeed Opera House, intertwines these themes and more in a wonderfully realized production set in wartime England.
The setting brings the audience directly to the marshy shore near a small coastal village. The villagers have been beset by rumors of a “monster of the marsh” inhabiting their bird hunting grounds near the local lighthouse. The titular snow goose, native not to the British Isles but to Canada, is wounded in some crossfire and the kindly young lass Frith - already a reluctant participant in the hunting party - is immediately consumed with thoughts of nursing the fractured flyer back to health. Her caring and compassion lead her and the audience to discoveries about herself, about prejudice and fear, and about her family and friends.
Ashlyn Maddox is excellent as the determined Frith who, as the story evolves, comes into herself and realizes what friendship entails and what is received in return for the giving of yourself. The true find in this production is Eric Graise as Phillip. His grace of movement and mesmerizing stage presence are enhanced by one of the strongest and most evocative singing voices heard on any regional stage in years.
The rest of the cast is equally noteworthy. Ally Bonino as Harper inhabits a character coming to realize what her life has been about and ruminate on the path not taken. Charlie Webb as the lovelorn Wilf brings both a humor and a wistful understanding to where he stands with the important people in his life. As the Bard, Sam Sherwood provides a kind of narrative that brings the entire story together.
The musical is based on a novella by Paul Gallico published in 1941, which in turn was based on a short story he wrote the previous year for Saturday Evening Post. The full title of the short story was “The Snow Goose: A Story of Dunkirk,” which portends that the musical itself does in fact involve that famous World War II battle and aftermath. The portrayal of the rescue which includes civilian and well as military British watercraft, may seem to those unfamiliar with the history as a convenient plot device, but it really (and incredibly) actually occurred.
The catchy tunes under the direction of Adam Souza integrate into the themes of the story and enhance the overarching portrayal of a mix of goodhearted individuals who, for their own various reasons, impart their desires, either overtly or implicitly, to be able to overcome the obstacles which life and the world has dealt them and be free to soar away from their quotidian lives; like the snow goose.
Commentary of this musical would not be complete without mentioning the puppetry involved. Lead by the immensely talented puppeteer Leah Hofmann, the snow goose comes alive. The emotion conveyed by the choreographed flapping of wings and the variety of the tonal “honks” makes one believe that the bird is in fact a living and breathing thing.
Finally, for those who have never been to Goodspeed, go now. The waterfront setting of this venue in an archetypically quaint New England town is perfect for a production that in many ways approaches perfection as well.
