Review: COME FROM AWAY at Roger Rocka's Dinner Theater

When the US airspace shut down after the attacks of 9/11, what happened to the planes already on their way? Hit Broadway musical Come From Away, penned by Canadian composer-lyricist couple Irene Sankoff and David Hein, recounts the story. This ensemble show which took New York by storm in 2017 became available for community theatre licensing this year – coinciding neatly with the 25th anniversary of the events. Fresno’s iconic dinner theatre, Roger Rocka’s, opened their production of the musical this past weekend, put on by Good Company Players. In the hands of director Emily Pessano, the production shines with stellar performances from an experienced cast. 

Come From Away is a deceptively complex musical. No character is singled out as a protagonist; the show has precisely two solos (“I Am Here,” sung by Hannah, here portrayed by Janet Glaudé, and “Me and the Sky,” sung by Captain Beverly Bass, here portrayed by Jessica Sarkisian). It is a true ensemble piece. Thus, a good production needs the entire cast to be strong – ideally equally strong, in order to capture the equality of the composers’ vision. Roger Rocka’s cast rose to the occasion. This reviewer struggles to pinpoint a single standout performer. The actors were quite evenly matched. 

A small handful of performers did shine a little more than the others: Bob/Others (Khari Somerville) was loveable and relatable as he demonstrated the caution and skepticism of the Canadian hosts that slowly relaxed. Shawn Williams’ Oz/Others had wonderful charisma. Annette (Haleigh Cook) delighted the audience with comedic relief – this is a musical with plenty of comedic relief. Comedy and joy carry this show that discusses traumas brought by 9/11. Carly Oliver and Michael Fidalgo also delivered wonderful performances as Beulah and Nick, respectively. 

This production of Come From Away features an unusually large cast of performers. Several of the tracks were split in two; Janice and the main flight attendant are not played by the same actor, for example, but rather, Meg Clark plays Janice/Others and Kylie Briggs, Flight Attendant/Others. This reviewer is torn on this decision. On one hand, it eases the challenges of the musical. Having a larger cast also creates richer sounds in the ensemble songs and allows for more diversity on a more cramped stage. On the other hand, seeing each actor constantly jump back and forth between several characters heightens the intensity of the show. Come From Away is meant to be an intense show. Approximately 90 minutes without intermission, there is not a moment to breathe – for the actors or the characters – nor a moment to clap. The nonstop pacing, with one song flowing swiftly into the next, and the frantic on-stage costume changes immerse the audience in the insanity of the situation. The real people who endured these events didn’t have a moment to stop; why should we? Splitting the character tracks lessens this to an extent. Not as much as adding an intermission, though.

Roger Rocka’s is a dinner theatre. Like every dinner theatre I have ever attended, they serve a meal before the show and dessert at intermission. This is true whether the show usually has an intermission or not. While Roger Rocka’s makes utterly phenomenal milkshakes to enjoy at intermission (this reviewer had the chocolate and caramel one, called “Stop The World”), the addition of the intermission did stifle the intensity of Come From Away. Jumping back in after the break was jarring.

The quality of the cast and the production cannot be overstated. They soar in every scene. Even with the above gripes, this is a show well worth attending. 

Good Company Players also has a robust children’s theatre program, who perform a cabaret before every show. The program is quite large this year. The children, singing a variety of songs related to travel, stayed perfectly in time for their choreography and their singing. It is wonderful to see such a well-organized and cared for investment in the arts for youth.

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