‘Come From Away’ Celebrates Light in Life’s Darkness
You could have pointed to Gander, Newfoundland on a map before September 11, 2001, and I wouldn’t have known anything about it. Granted, I was in fourth grade when terrorists hit the World Trade Center, and my knowledge of the world was somewhat limited, but what had once made Gander so important to aviation had long since been forgotten. In fact, I’m not sure many people knew much about this small Canadian island before one of the darkest days in American history. It’s this island and its people who came together during that difficult time, on which Come From Away is centered.
Weaving this inspiring true story of love and kindness are Irene Sankoff and David Hein, who put their entire heart and soul into the book, music, and lyrics of Come From Away. This one-act musical is a love letter to everyone impacted by the September 11th attacks and the resilience of people coming together when we need each other the most. A message that speaks volumes now more than ever, Come From Away is brimming with hope that light comes from community, formed perhaps when we least expect it but arrives when we need it the most.
This Tony Award-winning musical reminded me that with tragedy comes beauty, laughter is just as healing as crying (both of which you’ll do plenty of during this show), and a little kindness can go a long way in this journey we call life. If ever there is a show to see on tour, Come From Away might just be the most important one.
[Warning: Spoilers from the North American tour of Come From Away are below!]
Emergency landing in the middle of nowhere, Canada
September 11, 2001, began as any old day in Gander, Newfoundland. Disputes between the mayor and the head of the bus union are ongoing; people are waking up and heading to their local Tim Hortons for a doughnut and coffee (or, in the mayor’s case, a Pepsi), and life on the small island is just chugging along. Once a hub for international flights with a large airport used to refuel planes, the world has almost forgotten about Gander. The airport sits empty, with authorities unsure what to do with it.
Life is simple in Gander until the news begins to pour in from New York City. As the images from their television screens burn into their eyes, the people of Gander are thrust into the tragedy headfirst, as their once abandoned airport now becomes home to 38 planes from around the world grounded for an indefinite time. Brimming with Canadian hospitality and cheer, the island’s citizens kick into high gear to provide a home to people who are incredibly lost and confused.
There are challenges, such as where are we going to house nearly seven thousand passengers, and how will we feed them? There’s no determining when these people will go home and what the world will be like after the dust settles and smoke clears from The World Trade Center. It was a defining moment in world history, and the people of Gander did everything in their power to bring a sense of normalcy to something that would never and shouldn’t feel normal. Come From Away explores the lives of not just the people of Gander, but those of the passengers and the bonds that they made that can never be broken.
Tragedy doesn’t make sense, and Come From Away shows that in spades. However, it also shows audiences that goodness can outshine the darkness if we don’t let the latter swallow us whole. It’s tempting to give into the depression that comes with such events, but with a strong community around us, perhaps we can solve just about any problem together. At least, that’s what this journey to Gander and Come From Away said to me.
Come From Away’s North American tour emphasizes the stories and cast members
What’s striking about this production of Come From Away is the lack of any real set design. Having seen so many shows on tour or on Broadway, so many of them build out elaborate set pieces that create a better immersion into the story. However, Come From Away features a collection of wooden chairs, which transform the story from one location to another. For one scene, they may be lined up in rows on an airplane, while in the next, they could be arranged as a coffee shop on the Canadian island.
Without large set pieces, Come From Away allows for a better emphasis on the characters in the show and the actors playing them. This musical is a person-centered story, focusing on the interactions and dialogue between different people and the relationships that develop between them. In fact, relationships are some of the most important aspects of Come From Away, and it’s almost difficult to think of individual character storylines and moments, as many of them are intertwined.
Take the story of Diane (Tyler Olshansky-Bailon) and Nick (John Anker Bow), two strangers who fell in love while stranded in Gander. From their first moment together, you could feel the electricity between the two, due to the incredible chemistry between the two actors. You couldn’t help but feel your heart melt as Diane and Nick spend increasingly more time together, as the pressure of the real world looms over them. Olshansky-Bailon is magical as Diane, a woman with a purpose and a sense of direction, who guides the aimless, workaholic Nick to see what a better life could look like. Together, their story makes you believe in love again, at any age and stage of your life, and that if it’s meant to be, it will.
Or how about the couple of Kevin T (Richard Chaz Gomez) and Kevin J (Ryaan Farhadi), whose love doesn’t make it through the traumatic experience? Being gay during the early 2000s wasn’t easy by any means, but being thrust into a foreign land and unsure of who is safe adds an additional layer of unease among the men. Audiences can actively see the heartbreak happen on stage, with immaculate performances from both Gomez and Farhadi. The power of their performances is palpable, making me tear up more than once as both Kevins try their best to find common ground and instead stumble on the rubble of what is left of their relationship.
But no character dynamics broke me more than that of Beulah (Kristin Litzenberg) and Hannah (Hannah-Kathryn Wall). The love between these two characters isn’t romantic as the first two, but instead speaks on the unspoken bond between mothers. Both Beulah and Hannah have sons that work in the emergency field, something that Beulah uses to empathize with Hannah, who is trying to connect with her son back in New York City.
They trauma bond with each other over this fact, which helps Hannah through the most difficult experience of her life, once that made me weep uncontrollably. The work of Litzenberg and Wall is nothing short of theater brilliance, capturing something so raw and honest that it still makes me tear up just thinking about it. I’m not a parent myself, but you don’t need to be to feel the emotions rolling off both of these incredible actresses who give career-defining performances.
With such an emphasis on relationships, you might be wondering if there are moments where individual actors and characters get to shine, and of course, the answer is yes. Most of the cast play multiple characters, allowing them to flex not only their singing abilities but also their acting and comedic chops.
Kaitlyn Jackson as Beverley is one such character who shines in “Me and the Sky.” Beverley fought her entire life to be a pilot in a male-dominated field where little to no respect was given to women. She was grounded at every turn by barriers that she had to push against daily to be taken seriously. Jackson expertly executes the emotional struggle that Beverley experienced while singing her heart out and hitting riffs and notes that were impressive to everyone I spoke with. You feel her pain, but you also experience the freedom she gains in the sky, which is made even better by Jackson’s incredible performance.
Farhadi also gave another excellent performance as the singular Ali, a chef who desperately wants to help with the cooking on Gander, but is met with resistance from others due to the color of his skin. Ali’s part in the narrative feels small, only showing up a handful of times, but is perhaps the most significant one of the entire show.
The treatment of anyone deemed “other” by their ethnicity or the color of their skin has always been a problem that our society has struggled with, but after 9/11, those like Ali received the brunt of it. Come From Away doesn’t shy away from that difficult conversation, but instead opens the door to deeper conversations about it. Farhadi has the weight of this gigantic burden on his shoulders throughout the show, moving me and those around me deeply and many to tears. Farhadi’s craft throughout all his roles in this show is undeniable, but there’s something extraordinary about his time as Ali and the challenges he faces.
Come From Away is one of the best musicals out there
I’ll be honest: I didn’t know much about Come From Away before seeing the show. I hadn’t heard the music before and never caught any performances from it. It’s a travesty that I’ve gone this long in my life without knowing it. There is so much love put into this show, even down to the details of how it was technically made.
Irene Sankoff and David Hein not only made a story that was engaging, but also honored the people whose lives were forever changed. Director Christopher Ashley has taken the source material and ushered in a work of art, bringing all the pieces and cast members together to build one of the greatest musicals to ever grace our stage.
Come From Away runs for a few more days at The Fisher Theatre, so get your tickets now from Broadway in Detroit! Be sure to catch this inspiring musical when it arrives in a city near you. Have you seen this musical before? Let us know on social media @mycosmiccircus or @boxseatbabes or CosmicCircusBroadway on Bluesky!
Exclusive Interview: Kristin Litzenberg from Come From Away
