Theatre Raleigh Soars to New Heights with "Come From Away"

The cast "on board" in Theatre Raleigh's production of Come From Away. Photo by Jennifer Robertson Photography.

The events of September 11, 2001 left the nation in shock and marked a very dark period in American history. Thus, a musical surrounding the 9/11 events might seem like a bit of an odd choice . . . at least until you see Come From Away for yourself. This colorful, bright, and wonderfully touching musical, onstage now at Theatre Raleigh in the cozy De Ann S. Jones Theatre space, proves that beauty and goodness can come from even the most awful of circumstances.

The musical, which features an unforgettable book, music, and lyrics by Irene Sankoff and David Hein, explores what happens when 7,000 strangers, fondly dubbed “the plane people,” land at Gander International Airport in the tiny town of Gander. Their unexpected landing, caused by the attacks, is a true story, and the characters are based on real people. Perhaps that’s why their memories, which are so beautifully expressed through Sankoff and Hein's  gentle characterization, ring with such honest vulnerability. 

Relying on interviews conducted by the creators, the story explores the suspended lives of countless individuals . . . and yet, there are only twelve people in the cast. As a result, the actors are faced with the daunting task of bringing these individual experiences to life and making each one feel authentic, a challenge the performers meet head-on.

Under Tim Seib’s expert, crystal-clear direction, the cast members slip into and out of roles with seeming ease. In an early scene, they turn their chairs one way to represent the characters stuck on the plane and then face them in the opposite direction to become the people of Gander.  These transitions happen seamlessly, allowing the story to flow and unfold in a way that feels natural. The transformations are also aided by minimal but highly effective costume changes, courtesy of Ella Brooks. The quick addition of a sweater here or a vest or hat there, paired with an accent and a skilled performer, allows hundreds of characters to grace the stage and, even more importantly, enables more real voices and stories to be heard.

Speaking of the stories, there are so many, each one so poignantly detailed, but there are also central characters to follow. Beulah (Anne Scaramuzzo) runs the show in Gander and serves as the story’s uniting force. When she’s not busy gathering supplies or keeping everything under control, she’s telling bad jokes in an effort to comfort her new friend, Hannah (Yolanda Rabun). The two women bond over both having firefighter sons, and their connection becomes even more sacred as the story progresses. Scaramuzzo plays Beulah with a bustling, dependable, no-nonsense energy, but also with an underlying kindness and depth. Rabun, in turn, exudes a soft-but-strong presence and a raw but never overdone emotionality. Their scenes together are some of the show’s most touching, particularly during a later, beautifully directed scene in which they share a phone call that cements their friendship forever.

Jonah Ho’okano also delivers some incredibly impactful moments. Though his main role is as Kevin J., the hot-tempered partner of Kevin T. (Jeremy Woodard), he particularly stands out in his role as Ali, a Muslim passenger and chef who faces prejudice and unfair treatment. As Ali, he emanates incredible kindness, patience, and an instant likeability. As testament to his emotional range, however, he is also wonderfully funny and vibrant as Kevin J.

The “Kevins” share an interesting storyline of diverging paths and reactions, with Kevin T. undergoing a more somber, reflective experience. Woodard expresses his character’s contemplative journey with a sensitive, subdued performance. While his relationship transforms, a new one blossoms. Brian Westbrook and Chelsea Wilson are adorably (though conflictingly) besotted in their roles as Nick and Diane.

Other characters include Casey Wortham’s compassionate Bonnie, a Gander woman who cares for the animals from the plane, and female pilot Beverley (Sara Jean Ford). Wortham is a breath of fresh air as she bustles about, showing mercy as if it’s the most natural thing in the world, and she plays her role with radiating kindness and strength. Ford showcases that same inner strength, though her character’s emotions are more nuanced. The thing she cherishes—flying—has been weaponized, and her character, like the Kevins, must deal with a changing relationship of her own. Ford captures these feelings in a perfectly-delivered, emotionally-charged rendition of Sankoff and Hein’s brilliant “Me and the Sky,” a number that is also expertly and noticeably well-lit (Rob Denton).  

While the story delicately tackles some difficult themes, characters like Oz, the eccentric town constable, acted by a silly, smirking Jon Parker Douglas, and Claude, the mayor, portrayed by a jovial Eric John Mahlum, lighten the mood and add comic relief. No one, though, could be funnier than Bob, a jaded New Yorker who slowly comes to love and trust the people of Gander. Sai Graham is charming, believable, and adorably befuddled in the role, and the chemistry he shares with Mahlum is a sweetly unexpected delight. Payton Prince also adds a healthy dose of humor in her turn as Janice, a brand new reporter who finds herself in over her head. Watching Prince fumble and pull faces acts as fodder for joy and adds light when it’s needed most.

Aside from this “win” of a cast, the production benefits from exceptional staging. Atop a floor that’s been painstakingly painted to look like a topographical map lies the town of Gander, realized through Benedict R. Fancy’s whimsical scenic design. While the characters move this way and that—in fact, they never seem to stop moving—they are visible from multiple angles at all times. Pair that with the painted “Gander” signs and perfectly-aligned flags flying over each seating area, and it’s easy to see this show is a real labor of love, one created by people who understand the power of this story and want to do it justice.

And it is, indeed, a powerful story, one that swings between emotional highs and lows without ever missing a beat. From the stomping, hilarious staging of “Screech In,” a number in which people become honorary Newfoundlanders, to the wonderfully sensitive and respectful choreography (Mandie Rapoza) of “Prayer,” which showcases the prayer traditions of different religions, this production highlights some of the show’s most impressive and thoughtful elements, elements which often get lost or overlooked in less intimate versions. 

The world may be far removed, at least in years, from the events of 9/11, but darkness is still present. This story serves as a hopeful and timely reminder that beauty exists and that, by choosing to see it, we can make it even more powerful. In this production, beauty abounds, and goodness definitely wins.

Come From Away runs through April 19, and tickets are available here.

-Susie Potter