The Snow Goose - Goodspeed Opera House

The musical The Snow Goose, receiving its world-premiere at the Goodspeed Opera House, is based on the beloved 1940 novella of the same name.  It is an intimate tale of friendship and the cyclical nature of life.

The cast of The Snow Goose.  Photo by Diane Soboelwski.

In the book, Philip, an artist, lives in an abandoned lighthouse, afraid to interact with others because of his disability.  He is befriended by a local girl, Fritha, who brings a wounded snow goose to him to nurse back to health.  Once the snow goose has healed, she returns each year to be at the side of Philip and Fritha.  At the end of the story, Philip volunteers his boat to be part of the famous Dunkirk evacuation of British troops during WW II, risking his life for others and, in the process, saving numerous lives.

Ashlyn Maddox and Eric Graise in The Snow Goose.  Photo by Diane Soboelwski.

The Goodspeed production has enlarged this simple tale, adding many new characters and plot points not found in the book.  The resulting, expanded musical comes across as overstuffed with side plots, and characters not fully developed.  The results are mostly unsatisfying and ends up diluting the central themes of the book.

 

The show begins with The Bard, a troubadour (a new character), acting as a type of narrator, setting the scene for what will occur.  Fritha, who now has three friends – Wilf, Clara, and Farley (all new characters) – gets separated while exploring the marshes of Essex, England.  Fritha finds a wounded snow goose and brings it to the lighthouse where, according to townsfolk, “the monster” resides.  There resides Philip, a double amputee, who grudgingly agrees to nurse the bird.  This begins a tentative, then lasting friendship between the two as the snow goose returns each year during her migratory journey. 

Matthew Davies, Leah Hofmann, Kiersten Kelly and the cast of The Snow Goose.  Photo by Diane Soboelwski.

In between the yearly reunions, trouble brews for Fritha as her aunt (new character), who has raised her since she was a child, forbids the young girl from seeing Philip.  Wilf, her would-be boyfriend, also disallows her from visiting the lighthouse.  Ignoring their edicts, Fritha clandestinely continues her rendezvouses.  Fritha urges Philip to come to town to show the towns folk he is not a monster, but when he arrives he is verbally and physically assaulted because he is different.  Later, when boatmen are recruited to help save soldiers at Dunkirk, Philp pushes aside the hate and prejudice heaped upon him to volunteer, sacrificing his life in the process.

Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

 

The central issue with the book by Scott Gilmour and Claire McKenzie is the inclusion of so much additional material that blunts the unadorned earnestness of the source material.  Storylines are not fully fleshed out, and characters are not completely developed.  There is now a large ensemble, with uneven choreographic flourishes by Misha Shields, filling the stage.  Emmie Finckel’s Scenic Design are at its best when the staging is minimal.  Philip’s sailboat is especially well-done.

 

The strength of the Snow Goose is the performance of Eric Graise as Philip and the puppeteers manipulating the snow goose.  Graise, a double amputee, adds a high degree of realism to the Goodspeed stage.  He effortlessly exudes strength, independence, and melancholy in his role.    The snow goose has been designed by Nicholas Mahon and manipulated, primarily by Leah Hofmann.  The puppet comes alive within the practiced arms of his handlers, exuding playfulness, joy, and fear.

Ally Bonino and the cast of The Snow Goose.  Photo by Diane Soboelwski.

 

Ashlyn Maddox’s Fritha is at her best as a young lass, struggling with her own feelings and the decisions she wants to make.  The actress is less successful as she ages, a full ten years by the musical’s conclusion.  While a forceful presence on stage as Harper, Fritha’s aunt, Ally Bonino is not given enough of a backstory to establish her character beyond a nagging relative.  Out of the new characters, Charlie Webb’s Wilf receives significant stage time.  He brings youthful energy, timid emotions, and a degree of intimidation to his portrayal.

 

The score by Scott Gilmour and Claire McKenzie can be unabashedly exuberant and reflective.  There are some Broadway styled songs, but the majority of the numbers are tinged with the folk music of the area.

 

Eric Graise and Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

Director Marshall Pailet, who helmed the outstanding musical Private Jones at the Norma Terris Theatre a few seasons ago, works hard attempting to make all the diverse elements of the show coalesce into an entertaining whole.    He partially succeeds, with the more intimate scenes involving Philip, Fritha, and, to some extent, the snow goose – as a prime example.

 

The Snow Goose, playing at the Goodspeed Opera House through October 18.  Click here for dates, times, and ticket information.

 

 

 

Harmony - Music Theatre of CT

  

To begin its 40^th Anniversary Season, the Music Theatre of Connecticut is presenting the regional premiere of the musical Harmony.  The show, which had a short life on Broadway, has music by Barry Manilow and lyrics/book by Bruce Sussman.  It is based on the German singing group The Comedian Harmonists, one of the most popular musical ensembles in the world during the 1920’s and 1930’s.   The soaring fame of the six-person group, comprised of three Jewish and three non-Jewish members, coincided with the rise of Nazism which, eventually, led to the end of their storied career.

 

Michael Alonzo, Constantine Pappas, Jeff Raab, Dominic Pagliaro, Christian Libonati, and Cameron Edris in Harmony.  Photo by Alex Mongillo.

Director Kevin Connors has done an outstanding job assembling a cast of talented performers, especially the actors that play members of the singing group.  Music Director Zachary Anderson, working with Brian Salvia’s flawless Sound Design, receives kudos for taking these actors and exquisitely blending their voices into aural magic. 

 

The musical is an emotional roller coaster, with Sussman’s streamlined book emphasizing the highs and lows of the group.  Even though the finale – including a moving, angst-filled monologue by the superb Frank Mastrone – will bring a tear to the eye, Harmony is also filled with joy and wondrous singing and comedic bits by the cast.  Choreographer Chris McNiff’s provides stylish dance routines for the Comedian Harmonists.

 

Michelle Pauker in Harmony.  Photo by Alex Mongillo.

The story follows the six young men as they form their group and move from dive establishments to star billing at the fanciest nightclubs.  Sussman provides enough of a back story of each member to present wholly defined characters.  Along the way, two Harmonists marry, and they begin to travel the world, including a sold-out engagement at New York City’s Carnegie Hall.  The plot turns from upbeat and hopeful to chilling at the end of Act I as the rise of Nazism begins to take hold in Germany.  In Act II, while still performing and traveling – the Third Reich feels their performances are good for their image, but they are eventually reined in due, primarily, to the Jewish members of the group.  In the end, the Harmonists are disbanded, never to see each other again.

 

To hold the show together and push the action forward, Sussman has structured the musical with an aged narrator – Frank Mastrone as Rabbi, a member of the Comedian Harmonists in his younger days (Constantine Pappas plays Young Rabbi in the production).  Matrone pops up to add texture to the story and play several characters, including Albert Einstein.  He is the moral compass that gives expression to inner thoughts and outrage from years before.  The actor is a natural storyteller.  He is at times funny, moving and passionate as he delivers a marvelous performance.

 

Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab in Harmony.  Photo by Alex Mongillo.

The six members that comprise the Harmonists are equally distinguished.  The group – Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab – have tremendous chemistry and comfortability with each other.  While all the actors bring a complexity and their roles, Pappas, a member of the original Broadway production, stands out as Young Rabbi. 

 

 

Integral to Harmony are two women, who play key roles in the show.  Jazmin Gorsline, as Mary, Young Rabbi’s future wife, is initially low-key in her role but, as the show develops, the actress brings more confidence and strength to the part.  Michelle Pauker is dynamic and assured in her role of Ruth, the future wife of the singing group’s Chopin.  A firebrand seeking change to an unjust system, the actress delivers passion when on stage.

 

Constantine Pappas and Jazmin Gorsline in Harmony.  Photo by Alex Mongillo.

The score by Barry Manilow and Bruce Sussman can be affecting, upbeat, frisky and, for the most part, very tuneful.  In my opinion, in the past few years, there are only a handful of original Broadway musicals that have had better scores.  Manilow has co-written purely theatrical songs that will also be very satisfying to his legion of fans.  Standout numbers include the upbeat title song, the rousing “Every Single Day;” the stirring “Stars in the Night;” the excitement of “This is Our Time;” and the haunting ballad “Where You Go,” sung by Gorsline and Pauker.

 

Connors’ pacing and scene changes are smooth and efficient within Sean Sanford’s minimal, but effective, Scenic Design.  The Director brings an emotional depth to the production, whether they are intimate, poignant moments or raucous assemblages by the large cast.  I do wish, though, that Connors could have somewhat leavened the finale, with the character Rabbi’s anguish-laden speech, even though Sussman has written it with grief and sorrow. 

 

While Harmony is a triumph, it should be noted that the anti-semitic and right-wing political rhetoric that underlines the musical, is as present today as it was during the timeframe of the show – almost 100 years ago.   It is a distressing commentary of where we are as a society and should serve as a warning on complacency and ignorance.

Jeff Raab, Dominic Pagliaro, Cameron Edris, Frank Mastrone, Constantine Pappas, Michael Alonzo, Christian Libonati in Harmony.  Photo by Alex Mongillo.

 

Harmony, playing at the Music Theater of Connecticut through September 27.  Click here for dates, times, and ticket information.