By Alayna Een, Front Row Reviewers
Gerd and the Goose Girl (performing at the Angelus Theatre in Spanish Fork) is a new musical created by Louise Stapley Johnson (orchestrated by Stephen Gashler) that combines a Brothers Grimm fairytale with the story of Gerd, Norse earth goddess, and Freyr, Norse sky god. In this original retelling, the two Norse gods have a rocky relationship that drives Gerd to run away with her first child and make a new home in Midgard (the earthly realm). This daughter grows up to become the queen of Portugal and has a daughter named Clemencia. When difficulties arise in the kingdom, Clemencia reluctantly agrees to become betrothed to an unknown German prince. But when Desideria, Clemencia’s maidservant, rebels and claims to be the Portuguese princess, Clemencia is mistaken for a servant and sent to herd the palace’s geese. Fortunately, the prince sees through Desideria’s deception and seeks out Clemencia, falling in love with her as he discovers the truth. Together, they hatch a plan to bring the truth to light—with a little magical help.
The play opens with Gerd (Ruthie Cobb) and Freyr (Jade Higley). Cobb presents a spunky, brave goddess, and I especially enjoyed “My Little Dear One,” which she sings to her infant daughter. Higley’s resonant bass voice amplifies his commanding presence as the god Freyr, and the pair’s attempts at reconciliation are visually supported by the clever use of lighting, green and blue spotlights uniting during a shared chorus (a credit to director Jordan Hendrickson’s vision).
The king and queen of Portugal (Robert Cunningham and Lori-ann Cunningham) are a sweet pair, and Lori-ann Cunningham’s songs are emotive and powerful. Daryn Erickson (John) is a dedicated son and a caring brother to Clemencia (Jaicie Graham). Graham excellently portrays her character’s struggle between love and duty in her memorable song “Paper, Ink, and My Own Name” and maintains a regal bearing throughout the play. Garion Jorgensenplays the skeptical Prinz Stefan with upright determination. Both Jorgensen and Graham perform well in the song “Rain,” which strengthens their characters’ relationship. The talented Tyler Woods portrays the turncoat maidservant Desideria, whose ambition and discontent drive the plot. Woods’s passion and vocal prowess add power to her performance and strengthen the show as a whole. The careful attention of the cast and crew (especially stage manager Tiffany Ellis) helps the production run smoothly.
While the more popular stories collected by the Brothers Grimm frequently grace the stage, this is the first time I’ve seen Goose Girl—which is one of my favorites—produced as a play. The unorthodox mix of fairytale and myth makes for a unique theatrical experience. With little touches of magic, hats and papers whisked away by the “wind,” and meaningful displays of human emotion, the production creates a story of loss, hope, betrayal, and reparation.
Louise Stapley Johnson presents Gerd and the Goose Girl
Written and composed by Louise Stapley Johnson, Orchestrated by Stephen Gashler
The Angelus Theatre, 165 N Main St, Spanish Fork, UT, 84660
Tickets: $18
July 8–13, 2024, 7:30 PM
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