The Cast Photo by Diane Sobolewski

The play, like the book, is set along the Essex Coast in England, and the Goodspeed rendering, after an opening song by The Bard (Sam Sherwood) in a tavern, moves to The Great Marsh in 1933. The first act takes place in 1933 and 1934 while the second moves on to the summer of 1940. In all, the dark prospect of war ominously hovers.

The plot centers around Frith (Ashlyn Maddox), a shining young woman; Philip (Eric Graise), a needy, complex human being; and a wounded, expressive, irresistible snow goose. Philip is an artist who feels out of place and, in general, disconnected. Frith is a sensitive, appealing young woman and it is not surprising that a supportive character like Wilf (Charlie Webb) wishes she were attracted to him. The goose, from Canada, comes back year after year since she survived her initial injury and was able to resume flying.

The Snow Goose hits the mark on all requirements necessary for a successful musical, such as emotion, strong musical composition and lyrics, romance, subplot (see Wilf), and dashes of comedy. Emmie Finckel's clever set design brings the audience to locales such as a cottage, lighthouse, and eventually Dunkirk. Costume designer Mallory Kay Nelson's choices enrich and enhance. Aja M. Jackson's lighting and Jay Hilton's sound design augment the proceedings.

Ashlyn Maddox, as Frith, is a torch singer par excellence who is given many solos, including "Little Bird," "That Were Some Day," and "I Ain't Had Anything," all in the first act. Eric Graise, as Phillip, is moving with "Philip's Goodbye" and, later, with "Phillips Letter." Sam Sherwood, playing The Bard, provides narrative by playing his acoustic guitar and, every so often, singing, quite sweetly, a lovely song. Gilmour and McKenzie supply stalwart company numbers like "Garrick's Springtime Song" and the most moving "Another Dawn," a song performed twice during the final act.

Misha Shields' excellent choreography is essential. Director Marshall Pailet drives the action forward with swift pacing encouraging the audience's attention. Adam Souza is the talented musical director who also conducts while playing keyboard. His is a multi-tasking contributor. The instrumentalists are stationed on different levels on both sides of the stage and it is a favorable decision to make them visible to the audience.

All of that said, perhaps the riveting snow goose and its actualization through adroit, graceful puppetry is most remarkably distinctive. The goose is sometimes audacious, sometimes lyrical, but always a triumphant aspect of the entire presentation. Puppet designer Nicholas Mahon provides the large combination doll/figure/object which lead puppeteer Leah Hofmann brings to absolute, persuasive presence. Hofmann's vocals for the goose are spectacularly forceful at the outset and always significant. Her colleagues skillfully assist and manipulate the goose's wings. Those who attend will note something alluring that occasionally flies toward the old opera house's ceiling. It is it all beguiling and invigorating.

Ashlyn Maddox and Eric Graise are making Goodspeed debuts and each is most impressive, as are virtually all cast members. Leah Hofmann, who made her Broadway debut with puppetry in War Horse, is a pivotal contributor.

Collaborators Scott Gilmour and Claire McKenzie deserve an extra standing ovation. Both are graduates of the Royal Conservatoire of Scotland and they've worked with many organizations in the United Kingdom since forming their own company in 2012. They have developed 20 original works and at the Goodspeed, they deliver persuasive, effective songs and dialogue to explicate this enthralling story. The show percolates right after The Bard's initial musical appearance and continually fascinates. Marshall Pailet's direction ensures that the performance is inviting through substance as well as detail.

The Snow Goose runs through October 18, 2026, at Goodspeed Musicals, 6 Main St., East Haddam CT. For tickets and information, please call 860-873-8668 or visit Goodspeed.org.