Samuel J. Friedman Theatre, (10/24/2013 - 12/14/2013)

First Preview: Oct 01, 2013
Opening Date: Oct 24, 2013
Closing Date: Dec 14, 2013
Total Previews: 25
Total Performances: 60

Category: Play, Drama, Original, Broadway

Opening Night Production Staff

Theatre Owned / Operated by Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer)

Produced by Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) and MCC Theater (Robert LuPone, Bernard Telsey, Artistic Directors; William Cantler, Associate Artistic Director; Blake West, Executive Director); MTC Artistic Producer: Mandy Greenfield

Written by Sharr White; Original music by Dan Moses Schreier

Directed by Daniel Sullivan; Assistant Director: Jess Chayes

Scenic Design by John Lee Beatty; Costume Design by Jane Greenwood; Lighting Design by Japhy Weideman; Sound Design by Dan Moses Schreier; Projection Design by Rocco DiSanti; Hair and Wig Design by Tom Watson; Make-Up Design by Angelina Avallone; Associate Scenic Design: Kacie Hultgren; Associate Costume Design: Daniel Urlie; Associate Lighting Design: Yael Lubetzky; Lighting Programmer: John Wilson; Assistant Sound Design: Joshua Reid

MTC General Manager: Florie Seery; Company Manager: Erin Moeller

Production Manager: Joshua Helman; Production Stage Manager: James FitzSimmons; Stage Manager: Bryce McDonald

Dances by Mimi Lieber; Dialect Coach: Charlotte Fleck; MTC Artistic Line Producer: Lisa McNulty; MTC Director of Development: Lynne Randall; MTC Director of Artistic Development: Jerry Patch; MTC Director of Casting: Nancy Piccione; Casting: Caparelliotis Casting and Telsey + Company; MTC Director of Marketing: Debra Waxman-Pilla; Press Representative: Boneau / Bryan-Brown; Advertising: SPOTCo, Inc.; Web Design: SpotCo Interactive; Fight direction by Rick Sordelet; Dance Captain: Victoria Clark; Photographer: Joan Marcus

Opening Night Cast

Mary-Louise ParkerElizabeth Gaesling
Danny BursteinMax Hohmann
Victoria ClarkClarissa Hohmann
Brian CrossArnold Gaesling
Christopher InnvarTheodore Gaesling
Evan JonigkeitDuncan Gaesling
Jessica LoveViktorya Gryaznoy

Understudies: Tony Carlin (Max Hohmann, Theodore Gaesling), Edmund Donovan (Arnold Gaesling, Duncan Gaesling), Catherine Eaton (Clarissa Hohmann, Elizabeth Gaesling) and Alexandra Henrikson (Viktorya Gryaznoy)


New York Daily News: "The Snow Geese"

Sharr White’s World War I-era drama, “The Snow Geese,” is a low-flying work.

Presented by Manhattan Theatre Club and MCC Theater, the play is interesting, but too diffuse to satisfy fully.

Some compensation comes from a fine-tuned cast led by Mary-Louise Parker, who’s at her signature idiosyncratic best. Likewise from the well-oiled production designed by John Lee Beatty (sets), Jane Greenwood (costumes) and Japhy Weideman (lights), and directed by Daniel Sullivan.

White’s last Broadway play, “The Other Place,” was a twisty modern mystery. He’s far away in this story, which unfolds in 1917 upstate New York. He channels Chekhov every step of the way, following people who are letting go and moving on to uncertainty.

First off, there’s the “Seagull”-like title. There’s also a once-privileged, now broke family; a loud declaration of boredom; a pistol that is both seen and fired; and a woman in black who’s mourning for her life.

She is the recently widowed Elizabeth Gaesling (Parker), an odd duck who’s trying to hold onto her family home and the memories of her late husband, Theodore (Christopher Innvar). Teddy appears to Elizabeth in saucy dreams.

Reality bites at the family’s annual shooting party at their luxe lodge. Elizabeth’s spoiled, deceptively self-assured eldest son, Duncan (Evan Jonigkeit), is being deployed overseas. His kid brother, Arnold (Brian Cross, excellent), awakens to the family’s dire economic straits.

Also fretting are Elizabeth’s sister Clarissa (Victoria Clark), her physician husband, Max (Danny Burstein), and the Ukrainian immigrant maid Viktorya (Jessica Love).

White raises lots of ideas — about parental favoritism, culture clashes and sibling rivalries. He doesn’t fully develop any of these notions. And Arnold’s 11th-hour solution to money woes should have been obvious to the whole family from the get-go.

But the play is less about action and more about developing a group portrait. Another draft could have brought things into better focus.

New York Daily News

View full site