In a world that can sometimes feel painfully divided, The Keeton’s Come From Away arrives as a beautifully timed reminder that when everything else falls away, kindness can still bring us together. While Irene Sankoff and David Hein’s Come From Away score is effective in the moment, it’s not exactly one of those musicals filled with earworms audiences are likely to be singing or rushing out to download on their Broadway playlists. That said, there are moments in musical theatre when a production becomes more than the sum of its songs, characters and choreography. The Keeton’s Come From Away is one of those productions.
Set in the immediate aftermath of September 11, 2001, Come From Away tells the remarkable true story of the 38 planes diverted to Gander, Newfoundland, leaving thousands of passengers unexpectedly stranded in a small community. But rather than focusing on the tragedy itself, the musical turns its attention toward what happened next: strangers opening their homes, sharing what little they had, forming unlikely friendships and discovering that compassion can flourish even in the darkest circumstances.
Under the direction of Susan Walsworth, with musical direction by Trey Lundquist, choreography by Mckenna Driver and set design/tech director courtesy Kevin Driver, The Keeton’s production captures that spirit with an ensemble that understands the show’s greatest strength is its collective heartbeat. Each of these creative, and the cast, come together to present a cohesive piece that presents the technical elements in a minimalist way. Effective, but never overpowering or competing with the strengths of the story and those tasked with bringing it to emotionally charged life.
With an obvious nod to the original Broadway run’s scenic design by Beowulf Boritt, for The Keeton’s production, Kevin Driver and his scenic team (Abby Waddoups, Donna Driver, Aras Alexander, Eric Bradley and Crystal Liles) construct a seemingly simple but successful set. The backdrop, a stripped-down horizontal slat wall that beautifully plays with Jesse Watts’ lighting design. Also reminiscent of the original set design, Keeton’s stage is flanked on either side by tall, thin but sturdy trees that extend out of sight above the action. Driver and company nicely represent the play’s locale with the added touch of downstage rock formations, giving just a hint of a rocky-shored island vibe. No need for elaborate set pieces or projections representing the various scene locations. Throughout the action of the piece, a chair can represent a seat on a plane, a place at a table, a passenger waiting for answers or simply another piece of the constantly shifting landscape. To that end, the choreography by Mckenna Driver works hand-in-hand with that concept, keeping the ensemble in perpetual motion and allowing the story to move with the same speed and urgency as the characters’ rapidly changing circumstances. Here, chairs become airplanes one moment, a bus headed to parts unknown the next, and then a crowded airport filled with weary strangers who somehow become fast friends. If you read my column with any regularity, you know I love a bit of chairography (blame Sweet Charity’s Shirley MacLaine or Janet Jackson if you want) and in Come From Away, chairography—a wonderfully inventive use of the simplest theatrical object to create an entire world—is key.
There may be twelve cast members, but the way Come From Away is presented, each cast member plays at least two roles: those of the displaced passengers and crew of the diverted planes and the townspeople of Gander, Newfoundland. At the center of the ensemble is Melissa Silengo, whose performance as Beverly Bass is nothing short of a powerhouse. Silengo brings an impressive combination of authority, vulnerability and warmth to the role of the pioneering female pilot. Her rendition of “Me and the Sky” is one of the production’s defining moments, taking Beverly from a young girl captivated by the possibility of flight through the challenges of becoming a pilot and ultimately into the extraordinary circumstances that put her leadership to the test. Silengo never plays Beverly simply as a heroic figure; she gives her humanity, making the character’s determination all the more affecting.
As for the passengers, Yolanda Treece’s Hannah, is equally heartbreaking. Her story, particularly as she waits desperately for word about her son, gives the production some of its most emotionally devastating moments. Treece allows Hannah’s grief to unfold with restraint rather than melodrama, making the quiet moments every bit as powerful as the big ones. When the characters gather in prayer, the scene becomes a poignant reminder that despite differences in religion, nationality and circumstance, there are some fears and hopes that belong to all of us.
Then there are the Kevins. Justin Tinker as Kevin J. and Jason Scott as Kevin T. provide some of the production’s most welcome humor while never losing sight of the humanity underneath it. Their relationship gives the audience permission to laugh amid the heavier material, and the chemistry between the two actors makes their banter particularly enjoyable. Their scenes are a reminder that even during extraordinary circumstances, people are still people—and sometimes humor is exactly how we survive the unbearable. Tinker gives Kevin J. a wonderfully complicated edge, while Scott brings Kevin T. an appealing warmth. Together, “the Kevins” are one of the production’s comedic bright spots.
Another unexpected delight is the developing relationship between Ben Gregory’s Nick and Ashlie Welte-Lopez’s Diane. What begins almost as an accidental connection between two people caught in an extraordinary situation gradually becomes something genuinely sweet. Their relationship never feels forced; instead, it grows naturally out of conversation, curiosity and the simple comfort of having someone beside you when you suddenly find yourself very far from home. Gregory and Welte-Lopez find the tenderness in those moments, giving the audience one more reason to smile.
The rest of the ensemble fills Gander with an infectious sense of personality. Brian Best’s Claude, the Mayor of Gander, reveals grace and a bit of befuddlement under pressure (what’s up with those cargo pants though?). Stephanie Jackson’s Beulah is the take charge Gander resident who keeps things moving in a time of crisis, while finding time to slow down and offer friendship, in particular to Treece’s Hanna. Leslie King’s Bonnie shows that empathy extends beyond the people affected by tragedy. Her scene with unseen animals in the cargo holds end up being some of the show’s most emotionally charged moments. Jack Joiner’s Oz, the constable and other minor roles provide more humor and heart. Jayden Murphy’s Bob, a young man who’s uncertain about “collecting bbq grills’ from Gander residents’ yards to help feed the masses provides a bit of humor, but also examines prejudices. Claire Yancey’s Janice, newbie local reporter who’s thrown into the spotlight on her first day on the job, adds another layer of self-doubt were crisis is concerned. Each ensemble member, regardless of their role, contributes distinct—at times humorous and through-provoking pieces—to the community that ultimately becomes the emotional center of the story.
As the story unfolds and the actors switch from townsfolk to displaced temporary Ganderites and back again…multiple times, there comes an unexpected pleasure in watching the ensemble shift from one character to another. One actor may be a passenger in one scene and a Gander resident in the next, with a change of posture, voice, costume piece or simply a new chair position doing the work. It is an enormous theatrical challenge, and this cast embraces it, and carries it out with everything they’ve got.
From the all-in half narrative/half sung-through opening number, “Welcome to The Rock”—to the production’s lighter moments, whether the passengers discovering the peculiarities of Newfoundland life, the infamous “Screech-In”, or the increasingly chaotic attempts to accommodate thousands of unexpected guests, there are genuinely funny moments—without ever making light of the circumstances surrounding them.
And then there are the moments when the laughter suddenly stops. The production’s treatment of the passengers watching the news footage for the first time is devastating precisely because it doesn’t need to overplay the moment. Staged somberly by director Walsworth, the passengers face the audience looking just above them, watching unseen tv screens. The audience doesn’t need to hear audio or see a video loop of the harrowing moments American Airlines Flight 11 and United Airlines 175 crashed into the Twin Towers to know what these characters are seeing. Those of us old enough to remember, know what they don’t yet know. The silence carries the weight and the resulting tears that streamed down my face as I watched this scene during the show’s opening night prove we truly will never forget.
That emotional balance is one of the most difficult things about Come From Away, and The Keeton largely gets it right. The show can move from laughter to tears and back again without feeling manipulative because the characters have been allowed to become real people rather than symbols.
Walsworth’s direction keeps that humanity front and center. Her staging trusts the material, the actors and the audience. Trey Lundquist’s music direction is equally essential, giving the production the vocal drive required by a score that rarely sits still. The music propels the story forward, while the ensemble sound helps create the feeling that this is one giant story being told by many voices.
And ultimately, that is exactly what Come From Away is. It is a story about people. People who were scared. People who were grieving. People who were annoyed, confused, exhausted and occasionally overwhelmed. But also people who opened their doors. People who cooked meals. People who provided beds. People who drove strangers around town. People who listened. People who laughed together. People who, for a brief moment, stopped being strangers.
The Keeton’s Come From Away understands that the show’s greatest spectacle isn’t in constructing a realistic aircraft cabin. It’s not in unnecessarily perfect choreography or even the remarkable feat of telling dozens of stories with a relatively small ensemble. It’s the kindness. In a time when it can be easy to become cynical about humanity, Come From Away offers something refreshingly simple: proof that we still possess the capacity to care for one another.
The Keeton’s Come From Away is an affecting, spirited and beautifully assembled production that takes flight because its talented ensemble never loses sight of the human beings at the heart of this extraordinary story. With Susan Walsworth’s assured direction, Trey Lundquist’s vibrant musical leadership, Mckenna Driver’s understood simple movement and a cast that seamlessly transforms chairs into planes, buses, airports and gathering places as effectively as they bring their characters to life, this is a production that reminds us that even in our darkest moments, there are still reasons to believe in each other. A beautiful reminder that sometimes the most powerful stories aren’t about what happened. They’re about what happened afterward.
The Keeton‘s Come From Away continues thru Sunday, August 30. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.
Next up following Come From Away, The Keeton presents John Patrick‘s wickedly funny mid-century comedy The Curious Savage on stage October 9-25. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X and Instagram.
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RAPID FIRE WITH COME FROM AWAY‘s CARRIE TILLIS
RAPID FIRE WITH COME FROM AWAY‘s JENNIFER JACKSON
RAPID FIRE WITH COME FROM AWAY‘s BRENDA SPARKS