Review: GRAND HORIZONS at the Good: The Unravelling of a Fifty-Year Marriage

To close its first season at Stevens Square, the Good Theater presents a compelling production of the Maine premiere of Bess Wohl’s Tony-nominated GRAND HORIZONS.  Touching, funny, and filled with friction, Wohl’s play examines the forces leading to the unravelling of a fifty-year marriage and the fallout their decision has on their entire family.

GRAND HORIZONS, which debuted at the Williamstown Festival in 2019, explores the murky waters of long term commitment, feminist aspirations, parenting, and the universal desire to be heard and truly seen.  The seven-person drama is character driven and heavily reliant on dialogue which Wohl’s pen makes resonate with an uncanny naturalism.  The world of GERAND HORIZONS consists of a couple who have celebrated fifty years of marriage only to find the wife wishes to dissolve those bonds, their two sons, their daughter-in-law, and two outsiders who wander into the fray.  Wohl is equally skilled at both group scenes, which often turn into melees, and probing two-character encounters.  And she treads a fine line between the banality of her characters’ lives and the smoldering drama that lies within.

Nathan Gregory directs with an excellent sense of pacing and a keen ear for what he calls “the space between the humor and the heartbreak.”  Tracy Washburn and Steve Underwood (Katy Click, props) create a unit set that intentionally suggests a series of bland box-like frames that constrain the characters, as they struggle to break free. Emily Kenny’s lighting adds to the claustrophobic interiors, while hinting at another world beyond. Cory Macgowan provides the able sound design and underscores the action and emotion with nostalgic folk-pop songs. Rebecca Copeland outfits the casts in unremarkable everyday clothing that mirrors their mundane world. Katy Click anchors the production as Stage Manager.

The Good Theater cast of both veterans and one newcomer coalesces into a fine ensemble.  As Nancy, Laura Houck demonstrates a burgeoning sense of independence, emerging from a long-suffering persona of “the good wife.”  She is soft-spoken and sweet, but inwardly nurtures a streak of desire and determination.  Steve Underwood plays Bill with a careworn acceptance that belies the impact his wife’s wish for a divorce has on him. As their traumatized sons, Ben and Brian, Daniel Cuff and Nick Sutton give poignant  and nicely contrasting performances. Cuff is all anger and angst, while Sutton conjures up vulnerability and emotional scarring.  Casey Turner , as Ben’s pregnant wife, convincingly comes to terms with her own marital issues. Keating Babcock makes a funny, yet affecting debut as Brian’s friend, Tommy, who attempts to comfort him by drawing him into an intimate connection.  Kathleen Kimball offers a bold contrast to Nancy as Bill’s extra-curricular dalliance, Carla, and her ultimate decision to abandon her boyfriend leads to the play’s resolution.

This production of GRAND HORIZONS embodies all the artistic virtues the Good Theater has to offer: well-written, emotionally effective plays, tight-knit, insightful directing, compelling ensemble casting, and polished visual and technical values.  It is a fitting way to end the company’s first main stage season in its new home.

Photos courtesy of Good Theater

GRAND HORIZONS runs from April 2 – 19, 2026, at the Good Theater, 631 Stevens Ave., Portlan

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