Review: The Stirring New Musical COME FROM AWAY Plays Ford's Theatre

Admittedly, I am an original musical junkie. There's something different and exciting about entering a theatre you've visited more than a few dozen times, and going in blind - ready to experience something completely new. Most times - after the show - I can say that I appreciate the creative team's attempt at presenting something original even if there's a myriad of problems on display. Sometimes, I can even leave the theatre nearly completely satisfied with the creative display. In rarer instances, I can say that the show is deserving of a strong future. Such was the case with Come From Away, currently running at the historic Ford's Theatre. It has already received successful runs at La Jolla Playhouse and Seattle Repertory Theatre on its way to the Great White Way, and the run at Ford's is shaping up to be another successful one in my opinion.

Featuring a book, music, and lyrics by the married Canadian duo of Irene Sankoff and David Hein, Come From Away explores a subject area that's bound to bring up some painful memories for some. It's a September 11th musical, but not in the way you might expect. It's not about the towers, the Pentagon, or even really the loss of life. it is a story of a community bonding together to embrace passengers on the 38 planes that were diverted to Canada - specifically Newfoundland - when the U.S. Government closed American air space for the first time in U.S. history. It's one of those untold stories that is practically perfect for an original musical.

Using in-depth interviews as a basis for creating a cohesive story, Sankoff and Hein introduce us to a smattering of the United States-bound passengers and several airline employees that spent a few days in Gander, Newfoundland (and other surrounding towns) until the airspace was reopened. We also meet members - some colorful - of the local community, and learn how they all came together to take care of the "come from aways" with little to no advance notice. Their special brand of hospitality proves to be something the weary travelers will never forget.

The story focuses on this coming together of people from different worlds in unexpected circumstances. With the passengers' arrival, the population of the area more than doubles and people from all over the world - with all sorts of life experiences - are put in close proximity with one another. Lessons are learned, bonds are formed, and some lives change for ever. (There's an unexpected transatlantic love story, played out in a pleasing, but not too saccharine way by Sharon Wheatley as the divorced Texan Diane, and Lee MacDougall as the British oil company employee, Nick.)

The strengths of Sankoff and Hein's charming - and sometimes surprisingly comedic - musical are many. The music is heavily colored by the story's remote Newfoundland setting (embodied in Beowulf Boritt's beautiful woodsy and rustic set), and the area's Celtic influences. The fiddle (ably played by Caitlin Warbelow) and an array of whistles, flutes, and pipes (Ben Power) play prominent roles in August Eriksmoen's interesting charts. It's not your standard contemporary musical fare, which sets it apart from a slew of other musicals in recent years that have opened on Broadway.

The songs themselves do more than provide a little variety to the proceedings. They provide a means to not only learn about the local people and the "come from aways," but also this mysterious and out-of-the-way place called Gander. They're substantive.

In the former category - learning about the people - the number "Me and the Sky" stands out the most. It gives the audience insight into Beverly, the female captain of an American Airlines jet that was destined for Dallas, but ended up in Newfoundland. Though the song is well-written, chock full of quality information, and exquisitely sung by the always strong Jenn Colella, the fact that Beverly is the only character to get her own song is one of the musical's only perplexing attributes. Still it's understood that giving everyone a song would probably make the musical a three hour mess. If there is to be one individual standout moment, it makes the most sense for it to occur with this song, especially given the last few lines of lyrics (not to be spoiled here), and their connection with the overall theme of the musical.

In the latter category -learning about the place - the pulsating "Welcome to the Rock" introduces us to the local landscape in a quite thorough way (there are no throwaway lyrics here), and benefits from a local sound. It's a jam session, but one with a strong purpose.

The numerous songs move the story forward rather than stop it, and fit perfectly with a carefully constructed book that explores the very best of humanity in an unexpected and unprecedented dark time in Western history. Numerous examples abound, but one is most memorable for me. I couldn't help but start to smile at the scene where a local community member tried to communicate with an African family despite a language barrier, and urged them not be frightened. When he saw that the wife was carrying a Bible, he flipped to a passage in Philippians about not being anxious, and a common understanding and sense of trust was achieved. Small bits like this one - as well as other moments exemplifying how good it feels to give until you have nothing left - are presented in such a natural and honest way that even the biggest cynic is unlikely to roll their eyes.

A story like this one depends on an ensemble cast to tell it. It's a credit to the cast and creative team - especially Director Christopher Ashley and his light hand - that the audience is left with a sense that the story is really about the bonds among people, and not one or two people. The cast is exceptional at creating, embracing, and putting forth a sense of community, while still standing out as individuals. All cast members are deserving of mention, but besides Jenn Colella, Kendra Kassebaum, local actress Alyssa Wilmoth Keegan, Chad Kimball, Caesar Samayoa, Rodney Hicks, and Astrid Van Wieren are particularly adept at honing in on what makes their characters unique, and presenting the audience with full-fledged characterizations in mere seconds or minutes. Their characterizations, of course, would not be possible without Sankoff and Hein's attention to detail (but not too much detail) in the book.

COME FROM AWAY is a wholly satisfying evening of theatre - a bit of a throwback kind of musical, but with enough contemporary edge, and certainly relevance. It's unique among the myriad of commercial musicals that are treading the boards today, and I wish it well. It's certainly deserving of a future life on Broadway and elsewhere, and probably more than any other of the dozens of new musicals I've seen regionally in the last year or two.

Running Time: One hour and 45 minutes with no intermission.

COME FROM AWAY plays at Ford's Theatre - 511 10th Street, NW in Washington, DC - through October 9. Tickets can be purchased online, or by calling 888-616-0270.

Photo: The Ford's Theatre cast of Come From Away, directed by Christopher Ashley. By Carol Rosegg.