Review: COME FROM AWAY at Musical Theatre Southwest
What did our critic think of COME FROM AWAY at Musical Theatre Southwest?
The first time I saw Come From Away on Broadway, I had some doubts – a musical? About 9/11? And it’s funny, touching, sweet and amazing? Hmmmm……and it was all of that and more.
When I heard that Musical Theatre Southwest was taking on the first NM community theater production of Come From Away, I had some doubts as well. Could this little black box that could really take on this much revered and well-loved play? And the answer is one hundred times YES.
Come From Away is the true story of the 38 planes and their passengers that were forced to land in Gander, Newfoundland the morning of September 11, 2001. The United States closed the airspace for the first time in history and all planes coming from Europe were forced to land in Gander, a town of about 9,000. The planes that landed brought an additional 7,000 people to town; the story unfolds as the town navigates how to deal with this many guests, especially when they have no idea, how long they will have to stay.
The show moves quickly – it’s one act and under 2 hours in length, and there’s a lot of story to tell. The ensemble cast each play a number of roles – pilots, mayors, townspeople, couples and would-be couples, TV reporters and more. It’s one of those pieces that demand complete attention and presence from all the performers, technicians and musicians, and MTS delivers.
It’s hard to single out performances among this group of talented players, but Matt Miller is excellent in his role as Mayor of Gander. Jesse Miller in his dual roles of Union Steward for the local school buses and Kevin, half of a gay couple that gets stranded is also a standout. Adrienne Elkins shines as Bonnie, the ASPCA lady caring for the stranded animals, and Anna Wilson as the first-day-on-the-job TV reporter is both sweet and awkward in the best way.
Standout as well is the entire ensemble’s great commitment to the Gander/Newfoundland accent, a very distinct and oddly cadenced dialect, similar to Minnesotan but not quite. Kudos to the dialect coaching team for this tremendous feat.
Finally, moving the company out of the tiny black box they usually play did so much for this production. The Keshet Dance and Center for the Arts is expansive and excellent for the innovative minimalist set by Avery C. Edwards. The Lighting Design by Brittney Baker and Costume Design by Rachel Capener are both spot-on as well. The only technical area that was slightly off was sound, but that could be attributed to the multitude of microphones onstage; I am sure this will tighten up throughout the run of the show.
After seeing Spring Awakening a few months ago, I was disheartened that MTS used backing tracks instead of live musicians. The orchestra, led by Colin Burdge, was so welcomed and necessary to give this piece the heart and soul it needs.
MTS is a company that has so much heart; they’re known for taking risks and presenting material that one wouldn’t expect from a local theater company (honestly, if one more production of Mean Girls is announced this year, just shoot me). It looks like many of the remaining shows of this run are sold out. Do whatever you can to get a ticket and support local theater. You will not regret it.
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