The circumstances surrounding the horrific attacks of Sept. 11 may seem an unlikely backdrop for a Broadway musical. But then Come From Away — which made its much-anticipated Nashville premiere at Tennessee Performing Arts Center Tuesday night — is not your typical show.
Based on actual events, this inspiring tale transports audiences to Gander — a tiny town “on the northeast tip of North America on an island called Newfoundland,” that welcomed roughly 7,000 stranded passengers when 38 planes from around the world were forced to land unexpectedly at the Gander International Airport. Locals immediately sprang into action, gathering essential supplies and setting up shelters while navigating complicated issues of logistics, language, culture and religion. But in addition to opening their doors, they also opened their hearts, comforting and bonding with terrified passengers and crew members.
It’s pretty heady stuff, and could easily veer off into rather hokey territory. But Canadian writing team Irene Sankoff and David Hein explore these themes with humility, charm and surprising humor, providing a lovely score that supports each scene. “Welcome to the Rock” sets the tone for the evening, introducing key characters and establishing the ordinary comings and goings of Gander. And Christopher Ashley (who earned a Tony Award for Best Direction of a Musical) demonstrates a remarkable gift for movement. Together with choreographer Kelly Devine, he has devised some marvelous moments that honor both the chaos and the incredible compassion surrounding the story.
I’ve been a fan of this musical ever since I saw it on Broadway at the Gerald Schoenfeld Theatre, and it’s great to see how well the production translates to the road. Beowulf Boritt’s rough-hewn scenic design reflects the rustic locale, while supporting the fluid staging. With little more than a few mismatched tables and chairs, the action shifts from the interior of a grounded plane to the local Tim Horton’s coffee shop to the scenic Dover Fault. (The use of a turntable is particularly effective in the tender “Stop the World.”) And the late Howell Binkley deserves mention for his beautifully evocative lighting.
The versatile cast is impressive throughout, switching roles (and accents) in the blink of an eye, and successfully transforming themselves from local residents to “plane people” in full view of the audience. And while it seems unfair to single out performances in such an ensemble-driven piece, Marika Aubrey is really excellent as Beverley — the trail-blazing pilot who shares her unique perspective in “Me and the Sky.” Other standouts include Danielle K. Thomas, who plays a New Yorker desperately awaiting word from her firefighter son (“I Am Here”), along with Julia Knitel (delightful as a rookie reporter) and James Earl Jones II (hilarious as a skeptical passenger).
And by placing the band onstage, the music feels even more integral to the story. Playing folk instruments such as the Irish flute, bouzouki and bodhran, these fabulous musicians amp up the fun of the big pub scene (“Screech In”), while treating the audience to a full-on, foot-stomping finale that drew cheers from the opening-night crowd.
In one of the final scenes, Gander’s Mayor (played with sly humor by Kevin Carolan) says: “Tonight we honor what was lost. But we also commemorate what we found.” And those words struck me as particularly appropriate in light of current events. Call me sentimental, but at a time when cruelty and divisiveness often dominate our headlines, it’s refreshing to see a show that celebrates human kindness and generosity.
