The North American Tour of “Come From Away” (Credit: Matthew Murphy)
“Come From Away” is the altogether brilliant musical based on the spirit-raising effort finessed by a small community in Newfoundland, Canada in the wake of the shocking terrorist attacks perpetrated on the morning of Sept. 11, 2001. It was an event that, among countless other things, put air travel to the U.S. on a sudden hold.
And Wednesday night’s exceptionally fine national touring company production of the show could not have arrived at Chicago’s Cadillac Palace Theatre at a more perfect moment given the current chaos in Europe, even if the roots of that chaos, and its manifestation, are decidedly different. For what this musical does is to capture the best and yes, at times, even the orneriest aspects of human nature. And in the process, it offers at least a hint of hope.
After the planes hijacked by Islamic terrorists hit both the Twin Towers in New York and a portion of the Pentagon and resulted in the crash of another plane headed to Washington D.C., air traffic to the U.S. came to a screeching halt. And 38 transatlantic flights, carrying a total of 7000 passengers, were forced to land at an airport in the small town of Gander in Newfoundland, Canada. How could all those strangers (initially totally in the dark about what had happened) possibly be taken care of in a town with a population barely larger than that of the sudden number of arrivals? How could they be fed, sheltered and cared for without any preparation?
Well, as it happens, a remarkable effort of ingenuity and generosity was set in motion. And how that all unfolded is at the core of “Come From Away,” an altogether unique and spirit-lifting musical with a pitch-perfect book, music and lyrics penned by the Canadian husband-and-wife team of Irene Sankoff and David Hein. The show’s original director, Christopher Ashley, and musical stager, Kelly Devine, are at the helm. And to top it all off, this touring company, featuring a sublime 12-person cast playing multiple roles, and an outstanding ensemble of eight musicians led by Cameron Moncur is outstanding.
Why this show, that opened on Broadway in 2017 - with impeccable scenic design by Beowulf Boritt and lighting by Howell Binkley - did not beat out “Dear Evan Hansen” for the Tony Award for best musical, is incomprehensible, but that’s a whole different matter.
The North American Tour of “Come From Away” (Credit: Matthew Murphy)
Both the passengers, from the states and abroad, and crew on the planes forced to land in Gander were in the dark about what had happened in the U.S. — cell phones were far from ubiquitous at the time. And they all grow increasingly agitated after spending more than 24 hours in their seats. As for the citizens of Gander, and its surrounding towns, they begin to understand what will be needed for an undetermined stay: Food, shelter, diapers, sanitation, emotional support and alcohol. And they very quickly open their schools, a Salvation Army center, their own homes and their hearts to these strangers in need.
An existing strike by the local bus drivers is another issue that needs to get resolved. But beds and food and other necessities are assembled with amazing speed and determination by the citizens of the town — from the mayor and constable to teachers and an animal protection advocate Yes, there are cats, dogs, chimps and even a pregnant bonobo on board the grounded planes.
An unlikely romantic relationship is forged between a free-spirited Texan woman (played by Christine Toy Johnson) and an uptight Brit (Chamblee Ferguson). A deep friendship develops between the mother of a New York firefighter who may have perished at the World Trade Center site (Danielle K. Thomas), and the mother of a Gander firefighter (Julie Johnson). A novice TV news reporter (Julia Knitel) gets to cover the story of a lifetime. A gay couple bickers with each other. An animal lover (Sharone Sayegh) tends to the hairy creatures. And a proud pilot (played by Marika Aubrey) chronicles her hard-won position as the first female captain to fly a commercial flight for American Airlines.
Of course, there are problems, too, with many languages and religions to deal with, and with a Muslim cook from Egypt subjected to intense security checks. There also are the desperately funny romantic advances made by an American pilot (played by James Earl Jones II, an actor widely familiar to Chicago audiences). And there are additional fine turns by Harter Clingman, Kevin Carolan, Jeremy Woodard, and Nick Duckart.
The beauty of the show’s score and script, which is based largely on true stories, and includes many comic, richly sardonic moments as well as great pathos, is wonderfully authentic. So is the hilarious ritual of kissing a cod.
The musicians are simply sensational, with a flair for the Irish-tinged themes of the score, with Moncur on keyboard, accordion and harmonium; Isaac Alderson on whistles, Irish flute and uilleann pipes; Kiana June Weber on fiddle; Billy Bivona and Sean Rubin on electric/acoustic guitars; Martin Howley on acoustic guitar, mandolins and bouzouki; Steve Holloway on bodhran and percussion and Joseph Mowatt on drums and percussion.
“Come From Away” is not your typical musical. You will make a great mistake if you miss it. And in spite of all the terror involved in the event that inspired it, this show serves as a profoundly healing balm.
“Come From Away” runs through March 6 at the Cadillac Palace Theatre., 151 W. Randolph. For tickets visit BroadwayInChicago.com or call (800) 775-2000.
Follow Hedy Weiss on Twitter: @HedyWeissCritic
