VOICE CHOICE

“A fuller, richer sound in vocals and music indelibly marked with subtly controlled and believable performances of emotional, deep intensity. This ‘Come from Away’ hits right to the core of human kindness within each of us.”

Rejoice Canadians! ‘Come from Away’ is back and sounds even more glorious.

The vocals and music have a fuller, richer sound. The emotional intensities of the individual performances are subtly and skillfully controlled and genuinely believable. Whether that’s from four years plus of Covid (that continues rearing its variants) or real-life experiences we’ve each gone through, there’s an inherent sense this opening night standing ovation production has further grown and morphed into a story that still tugs at the heartstrings.

It’s joyous.

This ‘Come from Away’ makes one proud to be Canadian. Husband and wife Irene Sankoff and David Hein’s relevant book, beautiful music, clever lyrics, and inspirational messages continue to speak volumes about human purpose and value when terrible adversity strikes.

This Toronto production, now scheduled for performances until April 2025, may extend into next summer.

I certainly hope it does.

The story deals with the 38 planes diverted to Gander, Newfoundland, on that fateful morning of September 11, 2001. For five days following, the people of Gander and surrounding towns took the 7000 stranded individuals and cared for them the best way they could. Sankoff and Hein interviewed the residents who assisted. From there came poignant, sad, amusing, troublesome and heartwarming stories and memories.

Beowulf Borritt’s excellent scenic design continues to reflect that East Coast feel ‘kitchen party’ we’ve all come to love. Howell Binkley’s lighting magically focuses attention where necessary to heighten tension. I also appreciate Gareth Owen’s sound design. He’s maintained the appropriate balance between the actors and the band so that the lyrics can be heard.

Music Director Bob Foster, Music Supervisor Ian Eisendrath and Kelly Devine’s Musical Staging are some of the production's highlights. The melodies touch the heartstrings. I still love the sharpness of the ‘chairography’ as chairs are easily moved from point to point. There are moments when the roof is blown off the Alexandra Theatre with the numbers “Welcome to The Rock” and “Screech In” as the movement/choreography is sharply delineated. There’s always a clear and developed sense of purpose and reason. The pacing never lags or drags.

I wanted to "Stop the World" as characters Nick and Diane sang in the show. Why? The musical numbers felt like believable extensions of the picture and the moment. I didn't want to leave this East Coast sense of belonging within the 100-minute running time without an interval. I cared about each of the characters and what was happening to them.

Most of the original Canadian cast has returned to play several roles. There are a few new additions to the cast and standbys. Cailyn Stadnik now plays Captain Beverley Bass, and David Silvestri plays the Gander mayor. Several of the standbys are also new to the production.

Christopher Ashley’s direction remains solid. His vision remains astute in wanting all audiences to know and remember the horror of that September day without showing any of the gratuitous elements. Instead, Ashley recognizes these characters as humans affected by a terrible event. Instead of focusing on the day's terror and aftermath, the audience becomes emotionally invested in what happens to them.

I surely did.

The actors are wonderful. They play several roles, but I will focus on certain ones.

Cailyn Stadnik delivers compelling work whenever she appears as American Airlines pilot Captain Beverley Bass. Her performance of 'Me and The Sky', depicting how Bass grew to love the aviation industry, is heartwarming and impactful after the song. David Silvestri's portrayal of the Gander mayor is commanding, as he ensures the town comes together to help the stranded passengers. He also adds humour in his brief roles as mayors of the surrounding towns. The moment when Silvestri, as the Gander mayor, acknowledges his actions after five days when he returns home leaves a powerful impression.

James Kall and Barbara Fulton deliver poignant performances as Nick and Diane, who meet and begin falling in love. You can’t help but root for them, especially during the ‘Screech In’ number, when they become honorary Newfoundlanders.

Lisa Horner delivers a powerful performance as Beulah, a sassy, wise-cracking, assertive, kind-hearted schoolteacher at the local Academy. Saccha Dennis's portrayal of Hannah, a mother searching for her firefighter son in New York, is moving, especially when she sings "I Am Here." Hannah's persistent messages on her son's answering machine, portrayed by Dennis, are heart-wrenching. Kyle Brown's portrayal of Bob brings much-needed humour to the show, especially during a scene where the Gander mayor instructs him to gather all the barbecues in town for a cookout. Cory O’Brien effectively captures that East Coast lifestyle as Oz, the police officer when he writes a warning ticket with a code that brings the audience to laughter.

Steffi DiDomenicantonio portrays Rogers TV reporter Janice Mosher, while Kristen Peace plays SPCA volunteer Bonnie. What's particularly striking about their performances is the determination of these women to make a positive impact in their chosen roles without needing validation from others. DiDomenicantonio skillfully captures the humour of being new to report on the day the world stood still, while Peace's portrayal of Bonnie is direct and decisive. Peace's Bonnie fearlessly disregards authority to check on the well-being of the animals in the plane's cargo hold. Near the play's conclusion, Peace captivates the audience as she emotionally speaks to the animals before they are returned to their original destinations.

Jeff Madden and Ali Momen are same-sex couple, and boss and secretary Kevin T. and Kevin J. Madden’s Kevin is the more adventuresome. At the same time, Momen’s Kevin wants to keep quiet and not draw attention to themselves in a town that might not understand who they are as people. Kevin T and Kevin J’s relationship is unduly put to the test while stranded. Madden and Momen play off each other very well while never turning their characters into stereotypes.

Final Thought: The loss in the passing of a parent, work colleagues and friends has made many messages of ‘Come from Away’ still relevant today for me. An ever-greater message for me is the moment Jeff Madden (as a bus driver) tells Kyle Brown and Saccha Dennis (as foreigners in a strange land) from Philippians 4:6: ‘Be anxious for nothing’.

A message I will strongly keep in my mind and heart as I fight another battle with treatable cancer yet again.

‘Joyous. Uplifting. It’s worth a visit to ‘Come from Away.’

Running time: approximately 100 minutes with no interval/intermission.

As of this article ‘Come from Away’ runs until March 2, 2025 at the Royal Alexandra Theatre, 260 King Street West, Toronto. I have a feeling it will run longer. For tickets: mirvish.com or call 1-800-461-3333.

DAVID AND HANNAH MIRVISH AND THE NATIONAL ARTS CENTRE ENGLISH THEATRE present
COME FROM AWAY
Book, Music and Lyrics by Irene Sankoff and David Hein

Directed by Christopher Ashley
Music Director: Bob Foster
Musical Staging: Kelly Devine
Music Supervision: Ian Eisendrath
Scenic Design: Beowulf Boritt
Costume Design: Toni-Leslie James
Lighting Design: Howell Binkley
Sound Design: Gareth Oen
Production Stage Manager: Lisa Humber
Music Director: Bob Foster

Performers: Kyle Brown, Saccha Dennis Steffi DiDomenicantonio, Barbara Fulton, Lisa Horner, James Kall, Jeff Madden, Ali Momen, Cory O’Brien, Kristen Peace, David Silvestri, Cailyn Stadnik, Clint Butler, Kate Etienne, Barbara Johnston, Jawon Mapp, Sarah Nairne, Aaron Walpole.