U.S. PREMIERE OF INSPIRING NEW MUSICAL, MAGGIE, TAKES CENTER STAGE AT GOODSPEED
By Kiersten Bjork (September 19, 2024)
Maggie: The New Musical, currently playing at The Goodspeed, is an inspiring new musical making its U.S. premiere at the historic theatre. With music by Johnny Reid, Matt Murray, and Bob Foster, a book and lyrics by Reid and Murray and music supervision and orchestrations by Foster, Maggie soars from the very first notes. It’s not a flashy, spectacle-heavy musical, but instead leans into the heart of the story and the depth of the characters to tell the tale.
Maggie follows the titular character (Christine Dwyer), a single mother raising three sons (Jeffrey Kringer, Wes Williams, Sam Primack) amidst religious and political upheaval in Scotland. We follow her on her journey as she fights to bring her boys up in a harsh world, navigating changing times with the help of the loyal group of women that surrounds her (Sophia Clarke, Kennedy Caughell, Terra C. MacLeod), and the boys’ Uncle Charles (Ryan Duncan). As life’s challenges appear at each twist and turn of her story, Maggie must be unbreakable if she is going to give her boys the life they deserve. With a beautiful score and a powerhouse cast, the story of Maggie comes to life in brilliant detail on the Goodspeed stage. Maggie features direction by Mary Francis Moore, music direction by Adam Souza, and choreography by EJ Boyle.
I was impressed with the production, being a new musical, and am curious to see where it goes from here. The story deals with family, religious, and political drama, but chooses to focus the narrative on a mother – which is not always the case in many other shows. I appreciate the choice to explore the much larger issue of the catholic versus protestant conflict through the lens of a single family, bringing it down to an incredibly personal, emotional level. By putting Maggie at the center of the story, we are allowed a view into the world of a hardworking woman who has suffered great losses and still continues to persevere because of her love for her sons. It’s an engaging story, and one that I think audiences would be interested in seeing if the piece continues on. The score has a wonderful sound. It employs a piper, giving it a more unique sound than many of the classic musicals we know and love, or the modern pop/rock shows and jukebox musicals taking Broadway by storm. It reminded me a bit of Come From Away in terms of sound and style. I did feel that perhaps there are one too many ballads – though there are some gorgeous songs – and at the end I was left wishing there were more opportunities for the brothers to sing together, whether a song for them as a trio, or more opportunities for duets. “Gettin’ Outta Here” was probably my favorite song in the show, and I would have liked to hear more along the lines of that number. Overall, I think the show definitely has legs, and it will be interesting to see what comes next!
Maggie: The New Musical, currently playing at The Goodspeed, is an inspiring new musical making its U.S. premiere at the historic theatre. With music by Johnny Reid, Matt Murray, and Bob Foster, a book and lyrics by Reid and Murray and music supervision and orchestrations by Foster, Maggie soars from the very first notes. It’s not a flashy, spectacle-heavy musical, but instead leans into the heart of the story and the depth of the characters to tell the tale.
Maggie follows the titular character (Christine Dwyer), a single mother raising three sons (Jeffrey Kringer, Wes Williams, Sam Primack) amidst religious and political upheaval in Scotland. We follow her on her journey as she fights to bring her boys up in a harsh world, navigating changing times with the help of the loyal group of women that surrounds her (Sophia Clarke, Kennedy Caughell, Terra C. MacLeod), and the boys’ Uncle Charles (Ryan Duncan). As life’s challenges appear at each twist and turn of her story, Maggie must be unbreakable if she is going to give her boys the life they deserve. With a beautiful score and a powerhouse cast, the story of Maggie comes to life in brilliant detail on the Goodspeed stage. Maggie features direction by Mary Francis Moore, music direction by Adam Souza, and choreography by EJ Boyle.
I was impressed with the production, being a new musical, and am curious to see where it goes from here. The story deals with family, religious, and political drama, but chooses to focus the narrative on a mother – which is not always the case in many other shows. I appreciate the choice to explore the much larger issue of the catholic versus protestant conflict through the lens of a single family, bringing it down to an incredibly personal, emotional level. By putting Maggie at the center of the story, we are allowed a view into the world of a hardworking woman who has suffered great losses and still continues to persevere because of her love for her sons. It’s an engaging story, and one that I think audiences would be interested in seeing if the piece continues on. The score has a wonderful sound. It employs a piper, giving it a more unique sound than many of the classic musicals we know and love, or the modern pop/rock shows and jukebox musicals taking Broadway by storm. It reminded me a bit of Come From Away in terms of sound and style. I did feel that perhaps there are one too many ballads – though there are some gorgeous songs – and at the end I was left wishing there were more opportunities for the brothers to sing together, whether a song for them as a trio, or more opportunities for duets. “Gettin’ Outta Here” was probably my favorite song in the show, and I would have liked to hear more along the lines of that number. Overall, I think the show definitely has legs, and it will be interesting to see what comes next!
Christine Dwyer and the company of Maggie
at Goodspeed Musicals (Diane Sobolewski) |
Ryan Duncan and Jeffrey Kringer with Wes Williams, Sam Primack, and Christine Dwyer in Maggie at Goodspeed Musicals (Diane Sobolewski)
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Christine Dwyer is a force to be reckoned with as Maggie: she is strong, she is fierce, she possesses an overwhelming love for her sons that shines through in each and every moment that she is on stage. Her scenes with her three boys are both touching and heartbreaking, as she portrays the range of what it is to be a mother, both the humor and joys and the sorrow and pain. She is riveting to watch from start to finish, and her performances of songs like “Used To Be Fire,” “Unbreakable,” and the Act I closer “My Confession” are breathtaking.
Maggie’s three sons, Shug, Tommy, and Jimmy are played by Jeffrey Kringer, Wes Williams, and Sam Primack. The three actors have wonderful chemistry, both with each other and with Dwyer. Kringer and Williams in particular play off of each other expertly, and their duet on “Gettin’ Outta Here” is one of my favorite moments of the show.
Kringer gives Shug that rough around the edges feel of the eldest son begrudgingly following in his father’s footsteps because he lacks another option. He is sharp and distant when he needs to be, yet full of life in the next moment when his dream might just be there for the taking. His depiction of Shug’s relationship with Maggie tugs at your heartstrings, and watching them sing “Walk Away” opposite each other really gets to you.
Williams is one of my favorites to watch in this production. There is something about the line he walks between playing the cocky athlete with dreams of going pro, and the son trying to please his mother while balancing the expectations of his brothers and the reality of the world around him that has the audience falling in love with the character. Williams’ is a dynamic and layered performance, and his scene with Maggie near the close of Act II is absolutely heart-wrenching.
Primack plays the baby of the family and couldn’t be better suited for the role. He brings a sweetness and naivety to Jimmy, and he does a great job embodying Jimmy’s arc; We see him change from being picked on by his elder brothers, to his success as being the only one to go to college and pursue the career he aspired to. Throughout it all, Primack maintains that endearing charm, making him a delight to watch onstage. I don’t think there was a dry eye in the house following “All Because of You” near the finale of Act II.
Maggie’s three sons, Shug, Tommy, and Jimmy are played by Jeffrey Kringer, Wes Williams, and Sam Primack. The three actors have wonderful chemistry, both with each other and with Dwyer. Kringer and Williams in particular play off of each other expertly, and their duet on “Gettin’ Outta Here” is one of my favorite moments of the show.
Kringer gives Shug that rough around the edges feel of the eldest son begrudgingly following in his father’s footsteps because he lacks another option. He is sharp and distant when he needs to be, yet full of life in the next moment when his dream might just be there for the taking. His depiction of Shug’s relationship with Maggie tugs at your heartstrings, and watching them sing “Walk Away” opposite each other really gets to you.
Williams is one of my favorites to watch in this production. There is something about the line he walks between playing the cocky athlete with dreams of going pro, and the son trying to please his mother while balancing the expectations of his brothers and the reality of the world around him that has the audience falling in love with the character. Williams’ is a dynamic and layered performance, and his scene with Maggie near the close of Act II is absolutely heart-wrenching.
Primack plays the baby of the family and couldn’t be better suited for the role. He brings a sweetness and naivety to Jimmy, and he does a great job embodying Jimmy’s arc; We see him change from being picked on by his elder brothers, to his success as being the only one to go to college and pursue the career he aspired to. Throughout it all, Primack maintains that endearing charm, making him a delight to watch onstage. I don’t think there was a dry eye in the house following “All Because of You” near the finale of Act II.
Sam Primack, Jeffrey Kringer, Christine Dwyer, and Wes Williams in Maggie
at Goodspeed Musicals (Diane Sobolewski) |
Jeffrey Kringer, Sam Primack, and Wes Williams in Maggie
at Goodspeed Musicals (Diane Sobolewski) |
Sophie Clarke, Kennedy Caughell, and Terra C. MacLeod play Sadie, Jean, and Betty, Maggie’s friends and the women who become like her family. All three are wonderful in their roles. Clarke is chipper and funny, with a dash of naivety as Sadie. She has a few great one-liners that have the audience in stitches.
Caughell is a performer that I’ve always enjoyed getting to see, and it was interesting to see her in a role so very different from the last, which had been Jo March in the musical Little Women: a tough, spitfire of a woman. As Jean, Caughell creates a timid and quiet wife in an abusive relationship. She finds that middle ground between enjoying her time with her friends yet shrinking down and making herself smaller in the presence of her husband, until things begin to change. I wish we got to hear more of her powerhouse voice, but she does well in the role and gets a chance to show a softer side.
MacLeod is a hoot as Betty, one of the more seasoned women in the group surrounding Maggie. She is a tough, no-nonsense type of lady, and MacLeod portrays this strongly through the physicality and tone she has developed for Betty. One of my favorite moments in the show is when she faces down Jean’s husband, Tam, and we can see that she is someone who isn’t afraid to go toe-to-toe with a menacing fellow such as Tam, as she’s intimidating enough in her own right.
Tam is portrayed by Matt Faucher, who nails the imposing physicality needed to embody this role to its fullest. He also possesses a deep, rich voice that was on display in the song “Promised Land,” rousing his fellow men to the cause. I wish there were more opportunities in the score for Faucher to solo, but I suppose it wouldn’t be right for the character.
Ryan Duncan is a joy as Uncle Charles. He’s charming, he’s dressed to the nines, and he wields humor as a weapon with the best of them. Duncan’s performance is beautifully nuanced – there are the obvious layers on top, but in the moments when we see what Uncle Charles is holding inside, such as the goodbye that he shares with Maggie and her friends, the audience truly sees the depth of the character, which Duncan portrays quite effectively.
Brian Michael Hoffman gets numerous laughs as Geordie Parven, who is introduced to us in a statement-making red speedo. Hoffman knows how to balance the humor with the endearing, sweet side of Geordie, and the audience clearly enjoys every moment that he is on stage.
Sonya Venugopal is a delight in the role of Jimmy’s girlfriend and future wife, Teresa. She lives skillfully within the kind and funny role, embodying exactly the type of partner that the audience would hope young Jimmy would end up with after getting to know him over the course of the show. Her humorous first meeting with Maggie gets a good laugh from the audience, and her revelation of where Teresa went to college gets even more of an audience reaction.
Rounding out the company are Jodi Bluestein, Anthony Festa, Lyda Jane Harlan, Joshua Kring, Emma McGlinchey, Paul Scanlan, and Nick Ziobro, all of whom portray various characters with ease. Festa is featured as Big Jimmy at the top of the show and stands out with his moving rendition of the short but sweet “Unbreakable.” Jenna Bienvenue and Nathan Quay Thomas serve as the swings for the production. As a whole, the company wields the complicated Scottish dialect with ease, fully immersing us in the world of Lanark.
Caughell is a performer that I’ve always enjoyed getting to see, and it was interesting to see her in a role so very different from the last, which had been Jo March in the musical Little Women: a tough, spitfire of a woman. As Jean, Caughell creates a timid and quiet wife in an abusive relationship. She finds that middle ground between enjoying her time with her friends yet shrinking down and making herself smaller in the presence of her husband, until things begin to change. I wish we got to hear more of her powerhouse voice, but she does well in the role and gets a chance to show a softer side.
MacLeod is a hoot as Betty, one of the more seasoned women in the group surrounding Maggie. She is a tough, no-nonsense type of lady, and MacLeod portrays this strongly through the physicality and tone she has developed for Betty. One of my favorite moments in the show is when she faces down Jean’s husband, Tam, and we can see that she is someone who isn’t afraid to go toe-to-toe with a menacing fellow such as Tam, as she’s intimidating enough in her own right.
Tam is portrayed by Matt Faucher, who nails the imposing physicality needed to embody this role to its fullest. He also possesses a deep, rich voice that was on display in the song “Promised Land,” rousing his fellow men to the cause. I wish there were more opportunities in the score for Faucher to solo, but I suppose it wouldn’t be right for the character.
Ryan Duncan is a joy as Uncle Charles. He’s charming, he’s dressed to the nines, and he wields humor as a weapon with the best of them. Duncan’s performance is beautifully nuanced – there are the obvious layers on top, but in the moments when we see what Uncle Charles is holding inside, such as the goodbye that he shares with Maggie and her friends, the audience truly sees the depth of the character, which Duncan portrays quite effectively.
Brian Michael Hoffman gets numerous laughs as Geordie Parven, who is introduced to us in a statement-making red speedo. Hoffman knows how to balance the humor with the endearing, sweet side of Geordie, and the audience clearly enjoys every moment that he is on stage.
Sonya Venugopal is a delight in the role of Jimmy’s girlfriend and future wife, Teresa. She lives skillfully within the kind and funny role, embodying exactly the type of partner that the audience would hope young Jimmy would end up with after getting to know him over the course of the show. Her humorous first meeting with Maggie gets a good laugh from the audience, and her revelation of where Teresa went to college gets even more of an audience reaction.
Rounding out the company are Jodi Bluestein, Anthony Festa, Lyda Jane Harlan, Joshua Kring, Emma McGlinchey, Paul Scanlan, and Nick Ziobro, all of whom portray various characters with ease. Festa is featured as Big Jimmy at the top of the show and stands out with his moving rendition of the short but sweet “Unbreakable.” Jenna Bienvenue and Nathan Quay Thomas serve as the swings for the production. As a whole, the company wields the complicated Scottish dialect with ease, fully immersing us in the world of Lanark.
Matt Faucher and the company of Maggie at Goodspeed Musicals (Diane Sobolewski)
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The company of Maggie at Goodspeed Musicals (Diane Sobolewski)
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Scenic design by Beowulf Boritt is simple, yet effective. The upstage wall features a realistic stone wall with a single door set a bit toward stage right. The wall also features spaces for signage denoting locations to appear as needed. An array of wooden chairs and several tables are brought in and out, turned, flipped, stacked, and more to create the different locales of the show. I like the choice of having each chair be unique, as it creates a well-lived-in world for the piece.
Lighting designer Japhy Weideman creates some truly beautiful work. Goodspeed’s space always lends itself nicely to tasteful sidelight, and there are some really well-lit moments in Maggie when actors are looking off into the wings or making exits into the wings that struck me in particular.
Costumes by designer Emily Rebholz help bring us further into the world of the show. There are a range of great period outfits, in addition to pieces that are distressed or dirtied to give them a lived-in feel that helps to deepen the story. I particularly like the variety of patterns and dresses that the female leads and ensemble are costumed with, and the stylish outfits that Uncle Charles wears. The distressed pieces are also particularly nicely done. Hair and wig design by Tommy Kurzman is fantastic. The shift in time accompanied by changing hair styles with the period is appreciated.
Sound design by Jay Hilton is solid and supports the production as it should. The pit and performers are well-balanced, with the pit giving a wonderful performance.
Lighting designer Japhy Weideman creates some truly beautiful work. Goodspeed’s space always lends itself nicely to tasteful sidelight, and there are some really well-lit moments in Maggie when actors are looking off into the wings or making exits into the wings that struck me in particular.
Costumes by designer Emily Rebholz help bring us further into the world of the show. There are a range of great period outfits, in addition to pieces that are distressed or dirtied to give them a lived-in feel that helps to deepen the story. I particularly like the variety of patterns and dresses that the female leads and ensemble are costumed with, and the stylish outfits that Uncle Charles wears. The distressed pieces are also particularly nicely done. Hair and wig design by Tommy Kurzman is fantastic. The shift in time accompanied by changing hair styles with the period is appreciated.
Sound design by Jay Hilton is solid and supports the production as it should. The pit and performers are well-balanced, with the pit giving a wonderful performance.
Sonya Venugopal, Sam Primack, and Christine Dwyer in Maggie
at Goodspeed Musicals (Diane Sobolewski) |
The company of Maggie at Goodspeed Musicals (Diane Sobolewski)
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Maggie is full of wonderful new music and standout performances, all telling a moving, heartbreaking, heartwarming, and inspiring story. There is a journey to be had in this slice of life in Lanark, Scotland, and it’s worth witnessing before Maggie moves on from its US premiere at Goodspeed. Experience the production for yourself – see Maggie at Goodspeed Musicals before it closes on October 20.
Maggie: The New Musical runs August 23-October 20, 2024, at Goodspeed Musicals in East Haddam, CT. Tickets are available online at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Maggie: The New Musical runs August 23-October 20, 2024, at Goodspeed Musicals in East Haddam, CT. Tickets are available online at goodspeed.org or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.