‘COME FROM AWAY’ TO WARM THE SOUL

REVIEW: COME FROM AWAY 

BY RYAN M. LUÉVANO

The musical Come from Away is a love letter to humanity, a reminder that when times are tough you can always count on people to help you weather the storm—especially Canadians. The “9/12” musical by Irene Sankoff and David Hein tells the story of what transpired when 38 planes were ordered to land unexpectedly in the small town of Gander, Newfoundland and Labrador, Canada.

L-R: Nick Duckart, Kevin Carolan and Andrew Samonsky surrounded by the company of “Come From Away.” Photo by Matthew Murphy.

The musical was nominated for seven tony awards in 2017 ultimately winning Best Direction of a Musical, as Dear, Evan Hansen was the favorite that year. Nevertheless, Come from Away is a compelling piece of musical theatre that serves up its message of kindness like a big bearhug to the Los Angeles theatre community. Its run at the Ahmanson lasts until January 6, 2019 so there’s plenty of time to catch this good-hearted musical.

From the moment the opening number begins it clear that audiences are in for a ride—and a fast ride at that as the show clicks by at swift pace. It’s a 100-minute rollercoaster that takes audiences through what happened in Gander when 7,000 people (double the population) found themselves stranded without food or accommodations in this tiny Canadian town.

The Company of the First North American Tour of “Come From Away.” Photo by Matthew Murphy.

Come from Away is a community musical to the max—it’s an ensemble piece where each character is given equal weight in telling the story. Additionally, what’s fascinating about this is show is that each ensemble member plays multiple characters, literally switching characters at the drop of a hat. This opens up the musical to include several more stories than would be possible to both keep track of and physically occupy the stage. Watching these actors change characters so quickly is astounding, it’s one of the most exciting aspects of the show. The direction by Christopher Ashley and musical staging by Kelly Devine is meticulous and superb. With so many moving parts everything moves like clockwork from song to song, there’s so much happening on stage and it’s all crystal clear.

What’s further interesting about Come from Away is that at its core it is also a new type of musical: a “docu-musical”. This is a musical whos purpose is to relate in linear timeline, fact driven, documentary fashion true events that transpired. Unlike most musicals Come from Away doesn’t take a point of view or provide a protagonist’s plight to follow in the midst of a grander story. However, this is not necessarily a drawback, but rather an interesting new type of concept that does work for this show. Accordingly, “Me and the Sky” is the closest thing we get to a solo number, even though it includes a female ensemble. This opportunity comes in the final third of the show and we can’t help but bask in its glory. Becky Gulsvig (Beverly) takes command of this song with powerful vocals and undying conviction, for this fleeting moment it’s Gulsvig’s show, she’s our hero.

The Company of the First North American Tour of “Come From Away.” Photo by Matthew Murphy.

WHAT ABOUT THE MUSIC DIRECTOR?

Music director Cynthia Kortman Westphal leads the band from the piano and accordion with ease. The band that includes whistles, Irish flute, uilleann pipes, mandolin and Bouzouki adds so much to the overall sound of the musical by bringing out it the Irish, English, and Cornish musical sounds that inhabit Newfoundland. In both “Screech In” and the “Finale” the band take center stage to perform and dance with the rest of the cast—even from your seat you get the sense of being in a little bar singing and dancing with your friends.

There’s no better time like the season of joy and giving to experience a musical like Come from Away, it’s a musical made to make you feel warm and fuzzy from the inside out.