TeenTix KC reviews Come From Away at KCRep

Photo by Don Ipock

TeenTix KC is an organization that helps provide KC youth with access to live stage performances. As part of that work, some up-and-coming  ‘Press Corps Members’ are tackling their first reviews—building up a next generation of critical, celebratory voices. Today, we’re thrilled to share Mia Carpenter’s coverage of KC Rep’s Come From Away. Find out more about TeenTix here.

The hit Broadway musical Come From Away, written by Irene Sankoff and David Hein and directed by Stuart Carden, carries forth a powerful message of acceptance and the importance of community in times of crisis.

Running in KC from September 1st to the 20th, the musical features 22 beautifully written and choreographed songs, along with a diverse cast of characters.

The story follows the Canadian town of Gander and nearly 7,000 passengers grounded there during the airspace closure in America that followed 9/11. Even as the town scrambles to find a place for the passengers to stay and food to eat, they still welcome them with open arms.

Come From Away, despite having some changes made for the sake of theatrics, (such as some characters being a blend of multiple people, rather than one specific person) maintains a strong historical accuracy. Performing the musical on the 25th anniversary of 9/11 helps emphasize how long-lasting the impacts of such an event were. When I walked into the theatre, there were barely any open seats, and many of those were filled by the time the lights went down. The story behind the musical is clearly incredibly impactful to many, bringing in enough people to fill KC Rep’s entire Spencer Theatre in one night.

Come From Away’s incredible plot is bolstered by the large cast of characters. The townspeople have distinct personalities but still clearly come from the same place, as shown by their mannerisms and dialect. However, the townsfolk aren’t the only well-written characters. There are also a variety of passengers from the planes, all from different parts of the world, and all traveling to America for different reasons. Some characters are returning home after a vacation, and some are coming to America for the first time. Many actors play multiple characters, but subtle techniques keep the audience from confusing who is who. The director and design team have a beautiful way of changing an actor just enough, often using different voices or subtle outfit changes, to make you register them as a completely different person. As someone who often has trouble keeping track of characters, I was pleasantly surprised by how easily I could tell them apart.

One of my favorite elements was the set, created by Courtney O’Neill. The set itself had very few permanent pieces, and most of the environments were created by moving props like chairs and rolling stairs. The chairs were a primary focus in many of the scenes, often used to create seats on various airplanes. This flexible set design allows the stage to be used in its entirety for some of the more choreographed scenes, while also creating a smaller environment for scenes when the whole stage isn’t needed. I really enjoy this type of set design because it supports the story, especially in plays or musicals that need multiple distinct settings.

Come From Away is a wonderfully written play with a well-rounded cast. The technical elements serve the musical beautifully, with the set especially prominent. All these incredible elements come together to create a musical like no other. Come From Away carries a crucial message of acceptance, especially in today’s world, that lingers long after the lights come up.