Last month, the Lyric Repertory Company opened their long-awaited secret show, “Come From Away.”
Both heart wrenching and heartwarming, “Come From Away” tells the true story of what happened in a small Canadian town on the day of the 9/11 terrorist attacks.
The show opens with the mayor of Gander, played by Andy Hunsaker, telling the audience about the town before transitioning to the musical’s first song, “Welcome to the Rock.”
After 38 planes are forced to land in Gander’s abandoned airport, the town’s residents opened their doors to over 6,500 displaced travelers — and their 19 pets.
Written by Irene Sankoff and David Hein, the musical first opened in the Gerald Schoenfeld Theatre in New York on March 12, 2017. Directed by Christopher Ashley, this performance ran for 5 and a half years, marking the longest run in the history of the Gerald Schoenfeld Theatre.
Putting on this award-winning musical was no easy task for the Lyric.
At first, the company hired Britannia Howe to direct a different musical, but when the company obtained the rights to “Come From Away,” they knew they couldn’t pass it up.
“I love the story. It has a special place in my heart," Howe said. "I didn't think I'd be offered this opportunity to direct a musical of this caliber.”
Staged in the Lyric Theatre in Logan, “Come From Away” features a live band and a cast of 12 actors portraying over 70 characters.
While each actor plays multiple roles, simple costume changes — such as putting on a flannel jacket — help the audience to easily differentiate between characters.
Actors of note include recent Utah State University acting graduate Ariana Whatcott, Utah State University professor Paul Mitri, musical theater sophomore Joely Sudweeks and visiting artists Andy Hunsaker. These four actors have mastered physicality, comedic timing, and the human condition as a whole.
The set, designed by Amy L. Critchfield, consists of large backdrops and projections, and the minimal props, structured by William King, range from brightly colored suitcases to a fake fish. Together, this is appealing to the eye, making it easy to watch and exciting.
Transitions between scenes are very fast, which makes applause a bit difficult to time.
Additionally, dialect is sometimes lost during songs. But that doesn’t take away the emotional aspect of the performance when tears start falling.
To get tickets to one of the musical’s five remaining performances, visit usu.edu/lyricrep/.
