Review: COME FROM AWAY at TheatreWorks Silicon Valley

COME FROM AWAY at TheatreWorks Silicon Valley is like a warm embrace for your world weary soul. With a steady beat that blends with your pulse, this music sticks in your mind and body. Devoid of elaborate set pieces or high tech features, the show soars because the story matters. And you will come away remembering all that is good and noble and possible in community.

COME FROM AWAY follows the stories of passengers aboard diverted aircraft in Gander, Newfoundland after the tragedy of 9/11. They have been stuck on planes for an excessively long time. They are tired, hungry, irritated, and even a little scared. In the midst of the unfolding news of the tragedy in the United States, these passengers walk from the confusion into the welcoming arms of the folks in Gander. The passengers have a variety of physical and emotional needs, and the people of Gander with their modest accommodations and resources simply find a way. 

The cast of COME FROM AWAY functions like a tight knit community they represent. With quick transitions and tight harmonies, they are a unit with no weak links. Still there are a few whose performances tug on your heart a little harder. Monique Hafen Adams as Bonnie stands out immediately. There is a barely perceptible air about people who love animals, and she exudes it. The kindness and empathy in her eyes as she pleads for those who have no other advocate is so genuine. Kaylee Ann as Janice has such an endearing quality. Her unique blend of timidity and bravery makes her character relatable to every person that struggles with imposter syndrome. Kevin T. is an interesting character that can come across as a bit simple, but Nick Nakashima brings out depths. Kevin does chase joy, he chooses it, he creates it. Nakashima doesn’t make the choice something of anguish but rather one of clarity. Heather Orth delivers some of the funniest lines, but never lets them overwhelm the heart of her character, Beulah. She feels like someone you know or at least someone you want to know. She gives every word and every silence authenticity. While everyone in the cast plays multiple roles, it is Adam Qutaishat that seems to disappear into them completely. His complete change of physicality between characters provides such distinct separation.

COME FROM AWAY is a show with a multitude of transitions, hoping back and forth between storylines. Robert Kelley achieves a sense of flow through his direction that allows the emotion pulse to carry over through scenes rather than restarting. Part of the charm of the show is the simple sets and reminder that a good show doesn’t need a lot of bells and whistles. Scenic Designer Wilson Chin set works with the show without complicating it. The leveled spaces give space for differing movement without having to move pieces on and off stage. One of the levels is a slope or ramp, but it is never really clear why as that particular feature is not used in a significant way. Choreographer Alex Perez gives the cast clear, simple movements in the few dance numbers that echo the pulse of the music and are manageable for those in the cast that are more movers than dancers. The music is where the show soars and William Liberatore’s musical direction has all the harmonies clicking.

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