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| Come From Away |
Whether or not it's still apparent, modern American society is still shaped by the attacks on September 11, 2001. Those who lived through it likely still have vivid memories of the days following the events, and how the world was greatly rattled and confused. It was a time when everyone was brought together and humanity seemed kinder. Despite this impacting everyone, entertainment has been slow to create an essential depiction or understanding of the tragedy in palpable manner. It may be why Come From Away seems all the more like a miracle, managing to convey the turbulent emotions that proceeded that day - and all without setting foot in America. The story of passengers diverted to a Canadian providence called Gander has now produced one of the best modern musicals in large part thanks to its effortless execution and a story whose heart is big and its wits just as strong. It's a story that may observe 9/11 from afar, but it's the most accurate representation of the cultural climate that's existed since.
The show set down at the Ahmanson Theater in Los Angeles, CA with a certain applause. Widely regarded as one of the best Broadway shows in years, it only takes seconds to understand why. There's no build-up to the first song, no orchestra (made up of on stage musicians) to create a mood. It's all abrupt as the 12 actors take to the stage, banging their feet on the ground as they sing the purposeful opening "Welcome to the Rock," which proudly declares the citizens of Gander as islanders. The whiplash sensation is met with a perfect introduction of core characters through clever use of staging and lighting, as everyone from the mayor to local reporters create a mentality of what's to come. The people of Gander seem hospitable, even if the song jokes about how hard they are to understand. Before the story shifts its focus to the passengers on a plane, the show has captured a community that feels familiar; one that works together to solve all of its problems, and boy does Gander need that.
While the music itself would be enough to rattle emotion out of the audience, it's the performances that make the show essential. The show only features 12 actors, yet the story conveys a community of over 15,000 people. Through the magic of staging and lighting once again, the small town of Gander quickly transforms into ornery passengers aboard a plane, diverted to "the middle of nowhere," who will come to be just as personable as anyone established so far. The average actor is required to play a minimum of three characters, and it's exciting to see them embody such different roles physically and verbally. Over the course of several songs, there are scene transitions that are blocked almost exclusively by lighting with many actors changing roles mid-song. It's powerful theater not only because of this marvel, but because of how well it works. The meticulous choreography is a thrill to watch live, and it adds more depth to the overall show.
As mentioned in the playbill, there is no intermission to this 100 minute show. While this may seem like torture to those expecting more regimented content, it's actually another essential tool to the show. While the music often serves more as exposition than simple fun ditties, there is almost a meditative layering to the music. As much intensity as there are in songs like "28 Hours/Wherever We Are," they are underlined by radical shifts in speed that are almost human. The intensity captures a paranoia and uncertainty in the days following 9/11 by showing a frustration to get off a plane or even find home. It grows like a chaos heard around the world, as if everyone is singing out loud for answers simultaneously. As it slows, there's the harsh realization, the sadness kicks in. The final stroke of genius comes in the solos throughout the music, which dictate plot, but also manage to ground a giant story into something personal. This is a journey about thousands, but the few dozen the audience follows becomes sympathetic through these asides, and it all works because of the thoughtful production to the music. It is through song that the worry comes through stronger, that the emotion can be felt. While the show has interstitial scenes to the music, it's all required in one of the leanest musicals of the decade. It would be criminal to take an intermission, as trying to recapture the feeling of being in the moment with these characters can only be achieved in one act.
The other thing that shines through beyond the technical achievements is the story itself. It's a story about a town finding a way to be hospitable, and it's almost heartwarming to hear of the good deeds. It's a place where racial profiling is nonexistent, where gays aren't discriminated against, and everyone is treated with the same care. The show's pathos is sung so loudly that it would take a hardcore cynic to not enjoy the displays of camaraderie that develop throughout the show. It's a depiction of an ideal community, and one that was fantasized about following 9/11. In the best of cases, it still exists and this show conveys it in such a way that the final song ("Finale") is almost built as an epilogue where every performer deserves a mid-song applause. As much as it's about helping strangers, the feeling of good people learning to be more generous in the times of tragedy is something that everyone should hopefully remember. Come From Away is a reminder of what the best in humanity can do, and thankfully the whole package goes down smooth with plenty of fun songs and ribald humor that only sweetens the deal.
Come From Away is a story about how people found a way to turn tragedy into a moment of community. By creating a story that flows seamlessly one second to the next, it creates one of the most moving theatrical experiences currently touring. There's a lot to love about the show's message, and it's only benefited by its execution. The fact that a cast could this expertly shift from character to character, performing choreography that's nimble, and still manage to convey it all in a sensible way is a miracle. This is theater (and humanity) at its very best. One could hope that in times of tragedy, everyone would be as welcoming as those from Gander. It's a slice of life that captures a moment long passed, but still resonates in ways that will never go away. For those who see the show, the town of Gander will be a hard one to forget. It's the best entertainment to be inspired by 9/11 yet, and hopefully it will only inspire more stories this clever, original, and innovative in the future.
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