The Bushnell, Hartford, CT
through May 5, 2019
by Shera Cohen
Canadians are the nicest people in the world. Everyone knows
this. The musical “Come from Away” proves it.
Photo by Matthew Murphy |
Imagine 7,000 uninvited visitors arriving, all at the same
time, in your tiny town whose own population numbers approximately 9,000. The
initial response might be, “Get the heck outa’ here.” Yet the folk of Gander,
Newfoundland, depicted by an ensemble of 12 amazingly talented actors, not only
open their doors wide; set up dormitories; cook up meals (albeit, not the best
cuisine); pour on the beer, and install as many phones as Gander can find. What
a start for a musical – a little crazy but true, about the day of 9/11/2001 and
the few days that follow when 38 planes were diverted to Canada. With much
bigger and horrific challenges in the world that week, most didn’t even know
about this little episode in history.
“Come from Away” flies by as a non-stop musical (airplane
puns intended) presented in one-act. With only one opportunity for audience
applause, following the stirring opening number “Welcome to the Rock,” the
story, songs, and foot-stompin’ dance seamlessly move from one vignette to
another, yet are never rushed. There are no starring roles – this tale of
friendship and camaraderie is the lead. While there are no instantly hummable
tunes for the drive home, every piece is uniquely atypical from most musicals;
country meets ballad meets sea-shanty, making them distinctly memorable.
Every actor takes on at least two roles; each portrays a
townie as well as a visitor (from countries around the globe), switching roles
in as short a time as one second. It’s almost as if a switch changes a subtle
Maine accent to one from Texas, and back again. A hat, a prop, a gesture
transforms one unique and distinct personality into another. Never for a moment
is the audience confused.
Throughout the performance, many of the musicians are
visible onstage, casually dressed and blending in with the action. They are a
fun, talented group, playing on an eclectic ensemble of instruments: pipes,
mandolins, and bouzouki, and bodhran (a stringed instrument and a drum, by the
way)
Bare trees on both sides of the stage keep most of the
movement front and center; featuring spirited choreography and a lot of
“musical chairs” to illustrate airplane seating for the exhausted, hot,
disheveled, and frustrated passengers.
“Come from Away” is a joy. What is especially unique about
this show is that, even though it is incredibly inventive in style, music, and
staging, it still manages to be a deeply affecting and moving, true account of
people simply being nice to each other.