Evan Jonigkeit, Victoria Clark, Danny Burstein, Brian Cross, Mary-Louise Parker and Jessica Love in Snow Geese; Photo by Jason Bell, © Manhattan Theatre Club

What is it with Sharr White and haunted vacation homes? His earlier play, The Other Place, had Laurie Metcalf as a neurologist in the early stages of dementia revisiting a beloved weekend house, long ago sold to new owners, that was and is still her emotional home, even if her main residence was elsewhere. In Snow Geese, Mr. White’s newest on Broadway, we have an aristocratic family with many homes—in Syracuse, on Gramercy Park, and in the woods of upstate New York—who have for financial and sentimental reasons settled into their cherished rustic hunting lodge, where the first guns of the game-bird season (bag limit twenty-five on those wily winter geese) are echoes of the more serious firepower going off in Europe: The setting is 1917, and the family patriarch Teddy has just passed away some weeks earlier, leaving the lovely widow Elizabeth Gaesling (Mary-Louise Parker) on the downslope of a rather gentle nervous breakdown as her overindulged golden-boy older son, Duncan (Evan Jonigkeit), departs from Princeton to join his blueblood gentlemen’s brigade in the French trenches while the put-upon stay-at-home good son, Arnold (Brian Cross), attempts to force his family to deal with the fact that their playboy father left them busted. In both cases, those homes away from home are haunted—by loved ones dredged up by misbehaving