Come from Away

B+

This Canadian musical with book, music and lyrics by Irene Sankoff and David Hein could not have arrived on Broadway at a better time. With our national psyche bruised by angst, doubt, resentment and divisiveness, it is comforting to be reminded that people can behave with kindness, charity, openness and unity. The show tells the story of what occurred in Gander, Newfoundland where 38 flights were forced to land after U.S. airspace was closed on 9/11. 7,000 passengers and crew — and a few animals — were housed, fed, comforted and entertained by the residents of a town whose population barely exceeded the number of unexpected guests. An excellent ensemble of twelve play both the residents and the guests, changing roles faster than you can blink. The book is based on actual interviews the creators conducted during the tenth anniversary observance of the event. The locals include the mayor (Joel Hatch), a teacher, the librarian (Astrid Van Wieren), the head of the striking bus drivers union, an animal welfare lady (Petrina Bromley) and a newly arrived television reporter (Kendra Kassebaum). The passengers include a woman (Q. Smith) whose son is a NYC fireman, a gay couple both named Kevin (Chad Kimball and Caesar Samayoa), a rabbi (Geno Carr), an Egyptian chef, an African family who speak no English, a young African-American man (Rodney Hicks) and an unlikely couple —a middle aged Texas divorcee (Sharon Wheatley) and a shy Englishman (Lee MacDougall) who take a fancy to each other. If a character can be singled out as the lead, it would be Beverley (Jenn Colella of High Fidelity and Closer Than Ever), a pilot, who gets the show’s only solo. The style of the music is mainly Celtic folk. Many of the songs sounded alike to my untrained ear. There is one lovely number where several passengers pray, each according to his or her custom. There’s  a rousing foot-stomping number set in a bar when some of the “come-from-aways” are initiated as honorary Newfoundlanders. The set by Beowulf Boritt features a forest of tree trunks on either side of the stage behind which the musicians are seated, a slatted back wall suitable for projections, a dozen or so mismatched wooden chairs and a turntable. Near the center of the back wall stand two damaged tree trunks possibly symbolizing the twin towers. The costumes by Toni-Leslie James help distinguish the characters. Kelly Devine is credited for “musical staging,” rather than as choreographer. Christopher Ashley’s direction keeps things flowing smoothly. The musicians get a well-deserved chance to show off during the curtain call. Judging from the audience’s enthusiasm, Broadway will welcome this feel-good musical. Running time: one hour 45 minutes; no intermission.

If/Then **

Unless you’re a really dedicated Idina Menzel fan, you can take a pass on this high-concept musical by Tom Kitt and Brian Yorkey. Menzel plays Elizabeth, a recently divorced almost-40 city planner returning to NYC after 12 years in Phoenix. She seems more interested in dwelling on past choices than in moving ahead with her life. A seemingly trivial decision about which friend to hang out with after an encounter in Madison Square Park leads her down two different paths, one as Beth, more interested in her career than her personal life and the other as Liz, who values love above career. Following her down these two different roads sounds more interesting than it turns out to be. Neither story is particularly compelling and the alternation between them is both confusing and unproductive. The people who surround Liz/Beth are right out of the cliche book — Lucas (Anthony Rapp), a mostly gay housing activist, Kate (LaChanze), a sassy black kindergarten teacher, Josh (James Snyder), a noble doctor just returned from military service; Anne (Jenn Colella) and David (Jason Tam), two cardboard characters to provide romantic interest for Kate and Lucas, and Beth’s boss and mentor Stephen (Jerry Dixon). Mark Wendland has designed an attractive, flexible set complete with turntable and huge overhead mirror. Kenneth Posner’s lighting design features a glowing backdrop of changing colors, some of them quite bilious. Emily Rebholz’s costumes do not distract. Michael Greif keeps things both stories moving with only occasional confusing moments. And then there’s the music, none of which I could hum if my life depended on it, and the lyrics, which rarely rise above the humdrum. Since I am old-fashioned enough to think that the music is the main point of a musical, I find the show wanting at its core. Menzel is a commanding performer, but she can’t elevate mediocre material. Running time: 2 hours 45 minutes, including intermission.

Closer Than Ever ****

(Please click on the title to see the entire review.)
Hurry to the York Theatre by July 14th if you want to catch one of the most enjoyable musicals in town. This revival of the 1989 revue by Maltby and Shire, featuring 24 songs tied loosely together by themes related to the pains and pleasures of adulthood, is splendidly performed by a very talented quartet (Jenn Colella, George Dvorsky, Christiane Noll and Sal Viviano). Each song is a tale in miniature that engages both mind and heart. The set by James Morgan is simple but effective. The choreography by Kurt Stamm is refreshingly clever. The piano and bass accompaniment is perfect. The direction, also by Maltby, is fluid. How sad that the revue has become an endangered species and that songs like this rarely reach the New York stage these days. I hope that we haven't heard the last of Maltby and Shire. Running time: 2 hours, 20 minutes including intermission.