The uplifting musical about 9/11’s unexpected kindness finds new resonance in turbulent times.

When Come From Away had its world premiere in 2015 it was a few days after a horrendous terrorist attack in Paris. This enchanting musical arrived just in time to restore our optimism about the human capacity for empathy and good deeds despite the horrific acts of some individuals.

Three years later, in 2018, the launch of the national road show was equally welcome after the 2016 election unleashed a major wave of nastiness and hatred. Now here we are again. If ever there were a time when the world needs the optimism of Come From Away, this is it. Watching Arvada Center’s inspiring production the show goes a long way in restoring our belief that, just as humans are capable of unimaginable anger and horror, they are also capable of great empathy and generosity

Come From Away is the story of how the 9,000 townspeople of Gander, Newfoundland (which had been a refueling stop for airliners in the early days of transatlantic flights) took in almost 7,000 airline passengers and crew whose 38 flights were diverted there on 9/11. Over the four days that the “plane people” were stranded, the Gander residents provided food, clothes, shelter, showers, phones for long-distance calls, free medications and anything else their unexpected guests needed.

Ten years later, many of the visitors returned to Gander to thank the residents for their hospitality during that most trying time. They were joined by a young couple, Irene Sankoff and David Hein, who had the brilliant idea to turn the story into a musical. After interviewing both Gander residents and the “plane people,” Sankoff and Hein did just that, writing the book, lyrics and music for a musical production. The result is one of the most uplifting musicals I’ve ever seen, alternately upbeat and sad, boisterous and quiet but ultimately a joyous celebration of the kindness of the human spirit.

Photo: Amanda Tipton Photography

Solid production start to finish

Every aspect of Come From Away works beautifully, starting with the tightly written script and the infectious Celtic-rock music (played with gusto by a seven-piece band under the direction of David Nehls). The 12-member Arvada cast is in excellent voice, with each actor-singer-dancer playing at least two roles under Kenny Moten’s expert direction. Each of their characterizations (representing a range of nationalities and languages) make it completely clear who they are at any particular moment as they seamlessly switch costumes, accents and emotional tenor in a flash.

At its core, it’s the personal stories of the plane people and the generosity of spirit of the Ganderites that make Come From Away such an uplifting experience. Among the plane people there’s the American Airlines pilot (the carrier’s first female captain) who feels deeply responsible for her passengers; a mother from New York who’s unable to get news about her firefighter son; an uptight English businessman; a mismatched gay couple — among many others.

We also learn about the goodhearted Gander residents, including a mother hen of sorts who directs the logistics of feeding and sheltering the plane people, an animal-lover who tends to the quarantined pets, Gander’s take-charge mayor and a timid young TV reporter on her first assignment.

Photo: Amanda Tipton Photography

Standouts

As Beverley Bass, Kelsey Crimson is a standout. She must manage protecting her passengers and getting them to their destination as soon as possible. At the same time she’s worrying about another American Airlines colleague who was on one of the hijacked flights and her husband and kids at home in the U.S. The moment when she receives the phone call with news of her colleague’s fate is one of the most touching moments of the show. But Crimson holds her emotion enough in check that she is able to continue to successfully manage plans to get her plane off the ground without falling apart.

As Beulah, the Ganderite who oversees the caretaking of the plane people, Sharon Kay White portrays a formidable but gentle woman under the most trying of conditions. When she befriends the passenger (a compelling Nicole Debree) desperate to reach her New York firefighter son, White is a steadying, empathetic presence. Their scenes together are so genuine it’s not hard to believe that in real life the two women became lifelong friends.

With such emotional content the performers in the show face a major challenge. They must sing and dance to heart-wrenching songs in the musical sequences and, in the nonmusical scenes, act out fear, confusion and concern for those at home. Each cast member does their part to blend into a coherent whole that makes every group number a sprightly ensemble of caring and cared-for people.

Visually, the production team does nice work turning a simple set of suitcases and chairs into a range of environments from airfield to bar to gymnasium shelter. In some productions, the set design of Come From Away is much more elaborate, but Arvada’s scenic designer Kevin Nelson inventively uses the wall of suitcases and two panels that periodically open to reveal the live band to convey a wide range of Gander environments.

Choreographer Jessica Hindsley creates a flow of spirited steps that keeps the action moving. Arvada Center is consistently able to tap mostly local actors who can dance as well as they sing — and this is obvious through this production. Hindsley’s ensemble choreography adds an essential element to help convey how the Ganderites and plane people — and even the audience — become a tight-knit community of friends from all over the world.

From the opening minutes, as audience members enter Arvada Center’s mainstage theatre, we know we’re in for a dramatic adventure. A booming voice sets the stage, literally, by inviting us to board a flight out of Gander. Once the curtain comes up, the immediacy of a travel experience to come is enhanced by a back wall of stacked suitcases as the actors enter. They soon begin a high energy ensemble musical number that welcomes us to Gander, followed soon by another large group song introducing the plight of the 38 planes diverted there.

Together these individuals demonstrate that even in the most trying circumstances there is always a place for hope and joy and kindness. Sankoff and Hein deserve our eternal thanks for reminding us of this and for creating such a buoyant evening of first-rate theatre.