Abby Bastian, Becca Johnson, Emily Schwartz, Shana Kulhavy, Noah Hill, Doug Kutzli, and ensemble members in Come from Away
My husband Mischa is Canadian – a proud son of the land of Mounties, moose, and maple syrup. Having heard tales of his homeland early in our courtship, I was eagerly anticipating my first Canadian Christmas. One small hitch: This was December 2021. The U.S.-Canada border had just reopened, but crossing required proof of a negative COVID test taken within 48 hours. Labs were overwhelmed, and processing times were longer than usual. We ended up stranded in Fargo, North Dakota, for several days during a blizzard until we could find a lab that could get us our results within the required time frame.
But oh, when we finally arrived, what a welcome awaited us: Homemade meals, Christmas cheer, and warm greetings. I’ve never been so fussed over in my life. Mischa’s mom offered tea, extra blankets, and little treats. It remains one of my most memorable Christmases: a terrible beginning that somehow made the happy ending all the more cherished. That’s what I recognized when I saw the Black Box Theatre's opening-night performance of Come from Away. An unexpected detour can become a story of extraordinary kindness.
Written and composed by Irene Sankoff and David Hein, Come from Away tells the true story of the tiny town of Gander, Newfoundland, whose population nearly doubled when 38 planes were diverted there following the September 11 attacks. Suddenly, thousands of “plane people” found themselves stranded in a strange place, while the Islanders scrambled to provide food and shelter for these outsiders. The Black Box’s production, directed by Lora Adams with musical direction by Amy Trimble, captures the chaos and the humanity of those extraordinary days.
Let’s start with the bad news: The entire run is sold out. In fact, an additional performance, added after the original run reached capacity, also sold out within hours. Frankly, I’m not surprised. If you happen to be offered a ticket, drop whatever you’re doing and take it. This is one journey you do not want to miss. (And it doesn't hurt to get on a waiting list.)
One of the show’s most impressive theatrical feats is its handling of the enormous cast of characters. Every actor plays multiple roles, and they perform them seamlessly. At one point, when the entire cast was onstage, I found myself wondering, “How did they fit all those other people backstage?” Then I remembered: “Oh, wait. These are the 'other people.'” Every character feels distinct, from the major players to the blink-and-you'll-miss-it personalities who still manage to leave an impression. And the ensemble chemistry is exceptional. Adams' cast was clearly having the time of their lives. Their rhythm felt so natural that I occasionally found myself wishing I could hop onstage and join them.
Adams' staging is equally clever. Her scenic design makes wonderful use of the Black Box’s narrow space, transforming it into everything from a Newfoundland town to an airplane cabin. The airplane scenes are particularly inventive: rows of chairs arranged at an angle across the stage create the sensation of a crowded aircraft. Passengers occasionally stand, directing our attention from one character to another. Even seated, they manage surprisingly intricate choreography, stomping and rocking in rhythm with the music. Madeleine Rhode deserves considerable credit for making choreography in airplane seats look so energetic.
Come from Away's set itself is simple but striking. “GANDER” appears in giant letters on the wood floor, alongside the town’s coordinates, which also appear on the textured wood-slat wall upstage. A barn-style sliding door becomes the cargo hold of a plane. But the centerpiece is the silhouette of the Twin Towers upstage center. Their outlines are illuminated as the audience enters, then fade when the show begins, allowing them to blend into the rest of the set. No attention is drawn to them again, yet they remain there throughout the performance, anchoring the story to the event that set everything in motion. It’s an incredibly subtle choice, and I loved it.
The intimacy of the Black Box space turns out to be an ideal match for this story. With Adams' actors only feet away, the raw emotion is laid bare. We could see every expression, hear every slight vocal tremble, and every moment felt personal and genuine.
Within the larger storyline are plenty of smaller ones. Bonnie (Becca Johnson), the SPCA volunteer who cares for the stranded animals, was one of my favorite characters. I was not expecting to be emotionally devastated by her subplot involving a chimpanzee, but there I was. The sweet romance between Diane (Abigail Trabue) and Nick (Joe Urbaitis) was another heartwarming tale amid all the chaos. Then there are the tiny comic gems: Mr. Michaels (Noah Hill), the suave Spanish-speaking gym teacher; Captain Bristol (Kirsten Myers), the impossibly dashing Virgin Atlantic pilot; the team of cardiologists in red latex gloves volunteering for toilet-cleaning duty. Moments involving these figures are brief, but they add comic relief and personality.
The score is another major strength. “Welcome to the Rock” is my new hype song – I am an Islander! But every song serves the story beautifully. “Prayer” is especially moving, while “In the Bar/Heave Away” is an absolute blast. Shana Kulhavy’s rendition of “Me and the Sky” is also gorgeous. Trimble’s live band deserves equal praise, as does the cast – which includes the exceptional Abby Bastian, Krystle Gascoigne, Paul Holland, Doug Kutzli, Thayne Lamb; Karen LeFebvre, Morris Nunn, Tommy Ratkiewicz, and Emily Schwartz – for projecting clearly enough to balance their voices against the music.
Come from Away is a musical about one of the most tragic events in modern history, but it’s not a tragedy. It isn’t really a comedy, either. It’s something in between. It’s life. There’s grief, fear, uncertainty, and loss. But there’s also laughter, friendship, generosity, and hope. By the end, the audience doesn’t feel defeated by tragedy. We feel victorious over it.
I’m stingy with standing ovations. I firmly believe that only top-tier theatre deserves a standing O. But come curtain call, I couldn’t get to my feet fast enough. My dad was with me, and he just shouted, “Yay! Yay!” over and over. Honestly, Dad said it best. “Yay!” pretty much sums it up.
Come from Away runs at the Black Box Theatre (1623 Fifth Avenue, Moline IL) through September 12, and more information and tickets are available by calling (563)284-2350 and visiting TheBlackBoxTheatre.com.
