come from away tour review

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The joyousness of the piece is unmistakable and infectious. Come From Away On Tour Musical . Suddenly the residents of an obscure island had to cope with 7,000 immediate guests.

Come from Away first North American tour reviewed at Ahmanson Theatre, 135 N. Grand Ave. ends on January 6, 2019 in Los Angeles for tickets ($30-$135), call 213.972.4400 or visit CTG, TOUR CONTINUES THROUGH SEPT. 2019 (or longer) for dates and cities, visit Come from Away. But, slowly and wonderfully, there’s also a gradual gift of grace amid the “Darkness and Trees”: Panic melds into trust and stranded wayfarers become serendipitous friends (“Wherever We Are”). Meanwhile, the travelers must return to a damaged world, one learning that her firefighter son had died with the Twin Towers. For me however — and I’m sure I am in the minority — I just felt the play lacked depth and that the musical numbers were quite unremarkable. As with Dear Evan Hansen, it is the dialogue that does the yeoman’s work here; taken from interviews conducted by Sankoff & Hein, it is neither affected nor forced, and sometimes very funny (the interview aspect is reminiscent of The Laramie Project). Come from Away is a miracle musical in every way. Save for the show-stopping jig, "Screech In," there's no other momentary pause for praise - even though Becky Gulsvig deserved some for her exquisitely-belted "Me and the Sky."

This is the true tale of the princely, welcoming Canadians who housed and fed the stranded strangers — “plane people” — for five days, an act that made news at a time when terrorism and death and smoke and ash was the only thing on TV. I heard some people call this a feel good musical, and after seeing it here in L.A., it’s not hard to understand why. In one of the most touching scenes, Andrew Samonsky, who plays Kevin T, one half of a gay couple (Nick Duckart plays his partner, Kevin J.) Canadian musical Come From Away is showing at Melbourne’s Comedy Theatre. No question, in 2019 Come from Away is a tonic, a balm and a blessing. The skill required to move between these accents and their attached physicality is staggering; no character, however briefly they figure in the story, ever feels like a caricature or a thin sketch. Certainly the onstage band sweeps us away with the sheer toe-tapping nature of the score.

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