Live and in person at the Royal Alexandra Theatre, Toronto, Ont. David and Hannah Mirvish and the National Arts Centre, English Theatre, present. Running until April 6, 2025.
Book, music and lyrics by Irene Sankoff and David Hein
Directed by Christopher Ashley
Choreographed by Kelly Devine
Musical director, Bob Foster
Musical supervisor, Ian Eisendrath
Scenic design by Beowulf Boritt
Costumes by Toni-Leslie James
Lighting by Howell Binkley
Sound by Gareth Owen
Cast: Kyle Brown
Saccha Dennis
Steffi Didomenicantonio
Barbara Fulton
Lisa Horner
James Kall
Jeff Madden
Ali Momen
Cory O’Brien
Kristen Peace
David Silvestri
Cailin Stadnyk
The band:
Bob Foster: Music director, keyboard
Richard Evans, keyboard
Bob McAlpine, guitar 1
Kim Ratcliffe, guitar 2
Valerie Li, fiddle
Spencer Murray, whistles, Irish flute, Uileann pipe
Jonathan Maharaj, bass
Sean Kilbride, drums
Greg Hawco, percussion
Come From Away is back with all the power, poignancy and uplifting energy one comes to expect of this exuberant musical that celebrates kindness and resilience.
Background. After playing all over the world and being awarded, applauded and celebrated wherever it played, Come From Away was set to play the Royal Alexandra Theatre for a second extended stay a two and a half years ago. Then COVID hit and shut it down. Tenacity is everything and you can’t keep a dandy show down when resourceful people want to put it on. So Mirvish Productions is presenting the show, again at the Royal Alexandra Theatre. As of this writing it’s been extended to March 2, 2024.
The Story. The show began in 2015 in La Jolla, San Diego and went on to play in Toronto, Broadway, the West End in London, England, in Australia, South America, and toured across Canada and the United States etc. The reviews have been ecstatic. Audiences get their exercise in by applauding energetically after various songs and leaping to their feet at the end of each performance. Is there anyone who doesn’t know the story? Ok, for the person who has been hermetically sealed for years in Antarctica with no internet, phone, or means of communication, here’s the background.
On September 11, 2001 the United States was in lockdown when there were terrorist attacks in New York, Washington, D.C, and Pennsylvania. Many planes destined for the States were in the air but were unable to land there for days afterword. Two hundred planes were diverted to various cities across Canada. Thirty-eight of them, carrying 7,000 people were diverted to Gander, Newfoundland. Gander had a huge airport that used to be a hub for refueling of transatlantic planes. But that stopped when planes were able to make the crossing and go further on a tank of fuel. Air traffic to Gander was sparce at the best of times. The population of Gander and towns around there was 9,000. What to do with these 38 planes carrying 7,000 anxious and confused people? The people of Gander and environs went into action: opening up every community center to house them; cooking to feed them; opened their homes to billet them and opened their hearts and arms to comfort them over the five days they were there.
The Production. The people of Newfoundland are different than most people, as exemplified by the ‘islanders’ of Gander and environs. One can understand it if you live on an island called ‘The Rock’ and it’s not unusual to have deep snow in May or even July. You need a sense of humour to cope and odd ways of welcoming people: drinking a potion called “screech” and kissing a cod. All that and more comes through in Irene Sankoff and David Hein’s book, music and lyrics.
In 2011, on the 10th anniversary celebration of the landing in Gander of the 7,000 people “from away,” writers Irene Sankoff and David Hein went to Gander to interview those people who were ‘islanders’ and those ‘from away.’ The idea came from Michael Rubinoff, producer-extraordinaire. They culled the interviews and wrote the book, music and lyrics of the experiences of these people. The result is Come From Away.
Twelve gifted actors play many and various characters from the townsfolk of Gander to the cross-section of the plane people. The story chronicles how the ‘islanders’ went from being hosts who had to tear around arranging, cooking, and providing for these folks ‘from away’, to becoming friends invested in caring for then. The ‘plane people’ went from being suspicious and anxious about being in this desolate place where the people talked funny so that ‘they understood about half of what they said, ‘ to relaxing and appreciating how special and different this place was.
Many of the actors in the cast are returning to play the same parts, others are new to the show. All of them create a cohesive ensemble. As Beulah, a teacher and organizer of the endeavor, Lisa Horner is irreverent generally and always caring. She bonds with Hannah played with concern and worry by Saccha Dennis. Hannah’s son is a firefighter in New York and she can’t reach him by phone. Beulah is also a mother of a fireman and gives Hannah much needed kind comfort. Both Lisa Horner and Saccha Dennis are wonderful singers. Bonnie represents the SPCA and is concerned with the animals on the plane—Kristen Peace plays her with determination and resolve to tend to all her furry charges. Ali Momen plays Kevin, an arrogant plane person who wants out of this backwater, and with a quick addition of a skullcap becomes Ali, an Egyptian Muslim, anxious and fearful of the other plane people who look at him with suspicion. The quick change is done with finesse and is unobtrusive. Love blossoms with Diane (a jolly Barbara Fulton) and Nick (a fastidious James Kall)—they meet on the plane. Jeff Madden as the other Jeff in a relationship, is curious and anxious to embrace this place even though his partner is not. Every single actor is worthy of being singled out, but you can see for yourself, when you see the show, and you should.
Director Christopher Ashley and Kelly Devine, his choreographer/musical stager, give a master class in how to seamlessly meld the direction with the movement/dance of the piece to create a piece of theatre that throbs with life. From the snap and stomp of the first song, “Welcome to the Rock,” to the rousing Finale the show explodes with energy. But care is also established in the quieter moments: the stunned concern of “38 Planes” as the islanders watch plane after plane arrive; “Prayer” a beautiful melding of Christian, Hebrew and Arabic languages to express penance of different beliefs; “Something’s Missing” the poignant song expressing a sadness even after the ordeal is over and many are going home.
I was struck at how the show is structured not to get applause after many songs, but to continue the scene without disruption. I thought that was classy.
After seeing the show often and in various productions I looked at moments closely and wondered why was it so moving? How was it possible that when one least expected it, tears? When the ‘plane people’ had access to two televisions they were shown what happened. They watched the tv screens, mouths agape, standing absolutely still, then at the same moment they all reacted in horror at what they were seeing. And we understood and with them, relived the unimaginable. This is only one moment. The production if full of them that take simple moments and leave us breathless and tearful. The wonder and power of theatre.
Comment. Come from Away is a musical that shows humanity at its best and its worst. In our angry, fractious world it has lessons of kindness from which we can all learn. It doesn’t sugar coat the ‘uglier’ moments. For example, Ali was always looked at with suspicion by those on the plane because he was Egyptian and a Muslim. Because of that he reacted with fear and trepidation. That didn’t change when they all returned home. He was still shunned. But when he was shown kindness by Beulah and the other ‘islanders’ he blossomed, warmed to it and offered his help when they needed it. One might offer that in the darkest moments, kindness is possible and needed. Like now. Come From Away is special. See it.
David and Hannah Mirvish, and the National Arts Centre, English Theatre present:
Plays until April 6, 2025
Running time: 100 minutes (no intermission)