Welcome to the rock if you come from away! You’ll probably understand about half of what they say— if you’re coming out to DC— then let The National point the way— be sure to get your tickets to see Come From Away. The remarkable and outstanding musical with music, book, and lyrics by Irene Sankoff & David Hein, Come From Away is a stunning experience of the stories that were started when the world stopped on September 11, 2001. Directed by Christopher Ashley, this stellar performance will shake you to your core, give you all the feels, and stop you to show you that you’re living in the moment. Poignant, heartfelt, and utterly universal, this sensational musical is a must-see at The National Theatre this season.
The beauty of this production is its aesthetic simplicity. All the bells and whistles, razzle-dazzle, and generalized theatrics that often accompany great big Broadway shows are not only not present for this production— they’re completely unnecessary. The truth of the matter is that the stories are so incredible, the performances so lively and authentic, that the most simple and ordinary of scenery (Scenic Design Beowulf Boritt) create the living reality of the show. The same can be said for the show’s costumes (Costume Designer Toni-Leslie James), which are functional and engaging to the characters but not distracting. Where the show’s creative aesthetic design really pops in an extraordinary fashion, again without becoming a focal point of its own in a distracting manner is the lighting design (Howell Binkley.) With precision timing on the individualized spotlights, which is an integral part of keeping the show’s flawless pacing and overall progress on track, Binkley incorporates these lights into various musical numbers in a way that makes them unsung characters, calling attention to each person whose story is being told as they pop on to highlight a different character and pop off when that character has stopped speaking or singing.
Musical Staging Master Kelly Devine and Musical Supervisor Ian Eisendrath working closely alongside Director Christopher Ashley have created this immersive world of song in which the play unfolds. One of the most stunning elements of Come From Away, in addition to its heartrending stories, is the live musicians featured on-stage for the duration of the performance. Though they often remained tucked away in the scenic trees (a rather symbolic representation that this music, which is so much a part of our culture— no matter which culture we identify with— and our experiences) the musicians elevate the show from extraordinary to phenomenal. The Band(featuring— Camero Moncur as conductor/keyboard/accordion/harmonium, Isaac Alderson on whistles/Irish flute/Uilleann pipes, Kiana June Weber on fiddle, Martin Howley on acoustic guitar/mandolins/Bouzouki, Billy Bivona on electric & acoustic guitars, Sean Rubin on electric & acoustic bass, Steve Holloway on Bodhran/percussion, Ben Morrow on drums/percussion) are given several moments to shine both during segments late in “On The Edge” and “Screech In” as well as during the “Finale” where the masterfully bring every single member of the audience to their feet, stomping and clapping and cheering as they play out the emotionally charged conclusion of the show.
Director Christopher Ashley makes exacting use of Beowulf Boritt built-in turntable, rotating moments of the story around both physically and metaphorically as they unfold. The show itself is an ensemble piece; the tales within come from the universal ensemble of the world that stopped turning on September 11, 2001 and the remarkable juxtaposition of movement and stillness that Ashley achieves both in the overall blocking of the show and the generalized movement of the company is nothing short of breathtaking. The story is touching, awe-inspiring, indescribable, and relatable. Ashley works the company ensemble in such a way that the emotional moments— leveled and sunk with emotional gravitas and raw experiences— are perfectly balanced with the more quirky and humorous ones, which can be found sprinkled liberally and shared throughout the course of the evening. Life has humor and laughter and light even in the darkest and most frightening of times and Come From Away is no different in that regard.
The Company— Marika Aubrey, Kevin Carolan, Harter Clingman, Nick Duckart, Chamblee Ferguson, Christine Toy Johnson, Julie Johnson, James Earl Jones II, Julia Knitel, Sharone Sayegh, Danielle K. Thomas, Jeremy Woodard— have mastered with rigorous aplomb the ability to sing, speak, even breath and gasp as one fluid unit, while simultaneously having their own voice. It is a difficult task to give these performers the praise and reverence they are due as individually they are each a stellar shining star— one of thousands among the stories represented in Come From Away— individually, but they are also so very much collectively one experience— the human experience— and because of their amazing ability to portray these experiences, both individual and collective, you leave the theatre feeling a world of emotions. This is a show that super-charges you with all of the feelings, feeding you the energy of compassion and love, loss and grief, joy and relief, remembrance and discovery; it is these dozen performers and their eight on-stage musicians who make this wholly astonishing experience possible.
All musical numbers, which flow seamlessly from one to the next— often times without even a pause for applause— are company numbers, though some numbers have standout solo features. “Costume Party” is one such number featuring the stunning voices of Christine Toy Johnson, Danielle K. Thomas, Jeremy Woodard, and Nick Duckart. The emotions portrayed in this— and literally every— song are raw and readily accessible for the audience. Thomas, whose primary character is that of Hannah (a woman from New York whose son is an unaccounted-for firefighter during the September 11th terrorist attacks while she is stuck in Canada because of all the diverted planes), delivers the show’s only credited solo, “I Am Here” and the terrifying experience of just not knowing and being physically stuck and unable to help comes through so clearly in her delivery of this number that you feel it deep inside you as if her story is your own.
As Captain Beverly Bass (among others) Marika Aubrey delivers the show’s only other ‘solo’ (though she is accompanied at the bridge of the number by the female ensemble of the show) “Me and the Sky.” This song is a high-octane expression of celebration, discovery, and shows how in the blink of an eye life can change on a dime. Bass has a fantastical voice that is well-suited for this number. She also plays the character of Annette, which delivers some of the more hilarious “fantasy-interpreted” scenes in the performance. Every performer, all dozen, have extraordinary voices both when singing and when speaking. The ability of this dozen performers to flip flawlessly back and forth between the Newfoundland accent (which has been softened ever so slightly so that the opening lines of the show’s opening number— ‘…you probably understand about a half of what we say..’— isn’t explicitly true) and whatever other global accent their character requires at the time is utterly mesmerizing. Dialect Coach Joel Goldes has outdone himself with these nuanced deliveries of accents, which are both consistent and accurate.
While the music is epic, the songs are heartfelt, true and authentic, it’s the stories and the relationships crafted and experienced in Come From Away that make it truly unique. While Bonnie (Sharone Sayegh) and Doug (Chamblee Ferguson) are just two locals— one with the SPCA and one with air-traffic control— their caring tale of supporting one another, and ultimately the 19 animals aboard those 38 planes that were forced to land, is one that is both light-hearted, humorous, and deeply moving. The connection between Beulah (Julie Johnson) and Hannah (Danielle K. Thomas) is one that transcends even the darkest of sorrows. (But for the love of God keep your eyes on Johnson as she belts out bits of Titanic both during “28 Hours/Wherever We Are” and “Screech In” as it’s hysterical.) Whether it’s the unlikely friendship between The Mayor of Appleton (Kevin Carolan) and Bob (James Earl Jones II, whose comic delivery is spot-on and second to none in this production) or the way nervous news anchor Janice Mosier (Julia Knitel) finds ways to translate the human experience as its being filtered down to her, there are so many touches of humanity occurring in every moment of this performance, you’ll leave with a heart fit to burst. And let’s not forget the comic and quirky Harter Clingman, predominantly playing Oz, whose understanding of subtle comedy adds even more hilarity to his humorous lines.
The relationship dynamics experienced in this story run the gamut; there is Diane (Christine Toy Johnson) and Nick (Chamblee Ferguson) who have to navigate the undiscovered waters of finding intimacy and togetherness, knowing that their union was only brought about because a globally terrifying disaster took place. There’s Kevin T. (Jeremy Woodard) and Kevin J. (Nick Duckart) who have to navigate experiencing this catastrophe in different ways and how that impacts their long-standing relationship. And then there’s Kevin Carolan, as Claude the mayor of Gander, who has to navigate an incoming emergency the likes of which the town has never experienced. Every performer in this show is setting course through multiple emotional journeys, delivering each one with profound reverence and tremendous emotional detail.
Each of the performers delivers a story, many stories, as many people. They move, they breathe, they sing, they feel as one and yet they each represent so many individuals. That is the true magic of this production. Come From Away will leave you breathless. It puts a fine point on the heart of humanity; if the world could strive for a little more kindness— like those humble people waiting in Newfoundland for anyone who needed an open door— this could truly be a better place for humankind. Do not miss this unforgettable, remarkable piece of exhilarating theatre; get your tickets to see Come From Away before it takes flight to the next city on its tour.
Running Time: 1 hour 45 minutes with no intermission
Come From Away plays through April 17, 2022 at The National Theatre— 1321 Pennsylvania Avenue NW in Washington, DC. For tickets call the box office at 800-514-3849 or purchase them online.
