Review Roundup: COME FROM AWAY Opens in Toronto; What Did The Critics Have to Say?

The Toronto Production of Come From Away opened February 13th at the Royal Alexandra Theatre. Come From Away tells the heartwarming story of the thousands of travelers who were forced to land in Gander, Newfoundland during 9/11, and the Newfoundlanders who opened their hearts and homes to them. Come From Away is an open-ended production, with tickets currently on sale through September 2018.

Let's see what the critics had to say!

J. Kelly Nestruck, The Globe and Mail: The new Toronto cast provides a chance for some Canadian performers you may know from "supporting" or "featured" roles to take the lead in this kinetic ensemble production directed by Christopher Ashley. Barbara Fulton, who has 22 seasons at the Stratford Festival under her belt, and James Kall, who has 35 years of professional experience, are cases in point - playing a American woman and an British man who meet in Gander; they have dreamy romantic chemistry - and how nice to swoon for love in middle age, in the middle of - what some might call - nowhere. George Masswohl anchors proceedings as the earthy mayor of Gander, and the even earthier mayors of Appleton and Gambo.

Carly Maga, The Star: On now at the Royal Alexandra Theatre, the new cast of 12 performers ably delivers a show with an intense pace of text, music and intricate staging by director Christopher Ashley (winning him the Tony Award), shuffling through a variety of characters involved when 38 planes make emergency landings in rural Newfoundland on Sept. 11, 2001. Beowulf Boritt's set and Howell Binkley's lighting still convey changes in scenery, from a claustrophobic plane to the deep, dark, expansive woods of Newfoundland as quickly as Ashley needs them to. Irene Sankoff and David Hein's book also makes it particularly appealing for new productions to replicate the emotional effectiveness of the original, as it's built to get quick glimpses of numerous individuals who make up a larger whole.

Taylor Long, BroadwayWorld: From the beginning of the pounding percussion line, the energy in the theatre was palpable. I've never felt anything like it. The show charges forward without stopping - with never a moment of dead space. It moves so quickly in fact, that it barely gives you a chance to dwell on any one emotion for too long - meaning you spend most of the show on the verge of tears. The frantic pacing does an incredible job of depicting the anxiety and confusion surrounding that tragic day. "Blankets and Bedding" is the perfect example of this structure - layering ascending vocal lines with a beating metronome in the percussion and rapid text over top. ("It's better than being at home alone wondering what's really happening. Everyone's phoning!") This continual movement slips into the direction as well. Director Christopher Ashley has the cast performing an intricate "ballet of chairs" during the 100-minute musical. If you start paying attention to one ensemble member's track, you become mesmerized by the meticulous choreography. Costumes shift at lightning speed as the ensemble shift in and out of various characters.

Joff Schmidt, CBC News: Celtic folk-infused numbers that are rarely subtle, but effectively pull the audience in, especially with the rousing opener Welcome to the Rock and the rollicking Screech In. It has its more tender moments, too, like the gentle and achingly sad Prayer and pilot Beverley's anthemic Me and the Sky. A superb live band under music director Bob Foster backs the talented cast, and get to really show off their stuff with a blistering curtain call number. Christopher Ashley, who won a Tony for directing the Broadway production, helms this production too, and it's a well-oiled machine. It moves with terrific energy through its 100 minutes (with, mercifully, no intermission to break its momentum). Hein and Sankoff have pulled off a remarkable feat here - a musical about the aftermath of 9/11 that's funny, heartwarming, genuinely moving and reminds us of the simple, utter decency that exists in the world at its best, in spite of its worst.

Wayne Leung, Mooney on Theatre: Because of its multi-narrative structure, Come From Away is a show that lives or dies on the strength of its ensemble; each cast member plays multiple characters throughout the show, and often needs to turn on a dime to switch characters. This new cast comes together beautifully, delivering consistently strong performances. Standout performances for me include Lisa Horner whose subtle comedic choices breathe new life into her character Buelah, and Eliza-Jane Scott as Captain Beverley Bass; the first female American airline captain and one of the most compelling and fully fleshed-out characters in the show. Scott delivers the show's only solo number Me and the Sky with the grace and style it needs to have the biggest emotional impact.

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