‘Come From Away’ @ Winspear (Broadway Dallas)
Photos courtesy of Broadway Dallas
—Martha Heimberg
Perhaps the most fascinating aspect of the musical Come From Away (book, music and lyrics by Irene Sankoff and David Hein) is the variety and clarity of emotion generated by a dozen actors and eight musicians, as they become the panicked and disgruntled airline passengers from all over the world who find themselves stranded in Gander, Newfoundland on September 11, 2001. With a quick change of a jacket or accent, they also become the townsfolk who welcomed the travelers when North American air space shut down following the terrorist attacks in New York that day.
This is a heroic five-day rescue mission condensed into a 100-minute life-affirming story set to a gorgeous score—and marked by the swelling and falling of songs and stories, and the rhythmic shift of actors from plane people to townspeople. Real people really do (and did) help each other survive in rhis compelling tale, with a meal and a laugh. Theater magic, right? The all-in ensemble performances bring to life the famously true story upon which the musical is based.
Director Christopher Ashley won the 2017 Tony Award for Come From Away, presented by Broadway Dallas at the Winspear Opera House through January 19. You can see why, as his fine work is ably restaged here by director Daniel Goldstein. The ensemble sings of “38 Planes” grounded to a large, underused airport after 9/11—and in fact, 7,000 passengers were somehow fed, housed and clothed by the citizens of Gander, population 10,000.
The songs and dialogue were culled from the recorded experience of both passengers and townspeople. The globally transforming events in New York and Washington D.C. threw all these unique personalities together in a shared locale, and—like people everywhere since words were spoken—they begin telling us their stories.
Beowulf Boritt’s clever set design features trees surrounding an assortment of tables and chairs that shift easily from a village meeting place to the rows of an airplane, as scenes move rapidly back and forth. In “Welcome to the Rock” the company describes their town and themselves, and we instantly believe these plain people have the zeal and pluck to do what needs to be done for their sudden guests. Even minor comic characters are distinct, and feel important. Outfitted in Toni-Leslie James’ down-to-earth costumes, we recognize them all, as they move in and out of each other’s lives.
I love the blustery mayor (Andrew Hendrick) who greets the news of the forced landings with the energy of an inspired quarterback. Before long he’s convinced the townspeople to get to work: high schools, homes and every available building are turned into makeshift shelters. Teachers, cooks, school bus drivers and reporters join hands and voices in “Blankets and Bedding” to make it all come together. The dedicated local SPCA worker (Kathleen Cameron) boards downed planes to care for pups and kittens—even a chimp—and protect them from cold and storms.
Addison Gardner is a calmly determined female pilot, assuring her passengers that they’ll soon get off the plane—and serving enough drinks to keep everybody hammered while they wait. Her voice soars in “Me and the Sky,” as she sings of the hurdles she’s overcome to be a pilot. Middle-aged romance blossoms as a lonely Texas woman (Tyler Olshansky-Bailon) and a shy Englishman (John Anker Bow) sing “Stop the World” when they realize their feelings for each other go much deeper than a brief crisis connection. The hunky gay couple (Richard Chaz Gomez and Ryan Farhadi—both named Kevin in the show) are hilariously pumped to find out that Newfoundlanders are totally down with their same-sex relatives and neighbors. Who knew?
The songs about prayer and the sense of being lost—and then found—are moving and beautifully performed. Keyboardist Sarah Pool Wilhelm directs a super-good eight-member band, and Howell Blinkley’s dramatic lighting design can make a shadow into another character.
The news of the day can be numbing. Come from Away will warm the heart of the oldest and coldest skeptic, reminding us that a welcome smile and a kind word are great icebreakers.
The packed house on opening night gave the touring company a very warm and noisy standing ovation.
WHEN: January 14-19, 2025
WHERE: Winspear Opera House, Dallas Arts District
WEB: broadwaydallas.org
