"Come From Away," show #948

Let the Come From Away-palooza begin! With the rights being announced to the Tony-winning (for Best Direction, but I’m NOT salty about, even though it deserved other accolades for which it was nominated) musical coming out a few months ago, the season announcements couldn’t be more littered with this title. But, I’m not jaded or upset about this trend; this is a human story that deserves to be told. I consider it a perfect musical, in that not a minute is wasted, it knows exactly what it is, and no intermission! (Yes, there are terrific musicals with intermission, but one can’t knock the allure of a musical written without a necessary intermission, amiright?)

(Cast of Come From Away; Photo credit: Dan Norman)

Guthrie Theatre’s production has all heart, enough polish, and a superb focus on the humanity of the piece. The ensemble cast is in unifying unison in song and scene, switching between characters and dialects as easy as turning on and off a light switch. Director Kent Gash has found the clipped pacing that overall serves the week-long stay many passengers endured in Gander, Newfoundland, while earning the slower moments of reflection, processing, and emotionally-driven plot development. Choreographer Byron Easley’s staging complements Gash’s helming with fun dancing, regionally-familiar moves, and the use of the revolving stage, along with tables and chairs, for fluid scene shifts. 

(Cast of Come From Away; Photo credit: Dan Norman)

Cast-wide, there’s not a weak performance in the bunch, with highlights coming from Eric Morris’ knack for comedy and being a genially hospitable Claude and Others; Jon Andrew Hegge’s skill for the drawl and bumbling earnestness as Oz and Others; and Soara-Joye Ross’ stellar vocals as Beverly and Others, highlighted in the single torch song, “Me and the Sky.” Ann Michels and Jim Lichtscheidl pair well as the strongest, most heartfelt written couple, Diane and Nick, in addition to both playing Other roles. Matthew Hall is a slow-and-steady stalwart of making his wallet the focused token of what it’s like to be in Gander as opposed to New York. 

(Cast of Come From Away; Photo credit: Dan Norman)

Technically, the Guthrie Theatre design team has put forth stellar work on the stage, especially in Edward E. Haynes Jr.’s excellent scenic design and Rui Rita’s moody, balance between flashy and intimate lighting design. Come From Away is a musical story that is worth telling, and with productions like what’s playing at the Guthrie Theatre, it’s obvious why: September 11th, 2001 has become more than a horrific memory and experience for those who lived through it; it’s a story that, amidst the tragedy and fear, allowed for a large amount of humans to show the best sides of them self in service and support of others. This Come From Away has a sold out run through August 9th, so if you’re in the Twin Cities, call the box office and see about wait list options, because this is a production you do not want to miss.