From the archives: a review of 2015

Read Time:2 Minute, 51 Second

This week, in a performance postponed due to the pandemic, the Tony Award-winning musical “Come From Away” is visiting San Diego for the first time since it was launched at La Jolla Playhouse in 2015.

The tour will take place from 17 to 22 May 2022 at the Public Theater of San Diego. Union-Tribune theater critic James Hebert was at the premiere in June 2015. Here are the first few paragraphs of his original review.

From The San Diego Union-Tribune, Saturday, June 13, 2015:

FOLKSY ‘GOES AWAY’ MAKES ITS WINGS

World premiere of fact-based, reliable, convincing music creation at La Jolla Playhouse

James Hebert

If a musical has ever caused a miracle, then it could be this: to convince the player that a transplant can change lives.

But it’s not your daily pit stop at the airport, which is featured in “Come From Away,” a popular, fact-based new show called La Jolla Playhouse, whose compelling sense of uplift can climb a couple of planes.

When terror forced airliners to find terra firma on Sept. 11 – as all U.S. air traffic was ordered to land – 38 of those planes landed on Gander, Newfoundland.

Um, where? That’s right. How to hear on the phone one passenger “Come From Away”: “We are safe on earth here in Iceland.”

However, soon this soil will begin to rumble and shift under the feet of refugees. And that’s only partly thanks to the primary percussion sound that sounds in numbers like “Welcome to Newfoundland,” which shocks the start of this world premiere.

This is more due to the way the citizens of this remote Canadian outpost receive legions of “airplane people” – feed them, provide housing, comfort and, in the process, offer a fresh perspective on hard lives.

Leaning against the terrorist attacks, but getting rid of the pressure in the cabin, passengers are free to move around the tiny town and perhaps think about changing their personal route.

“Come From Away,” written and written by a Canadian team of couple Irene Sankoff and David Heine, is an inspired and very original work, the structure of which fits perfectly into its history. (As with almost any new musical, it also has its drawbacks.)

Playhouse artistic director Christopher Ashley directs the show with a refined yet moving flow; Newfoundland-inspired music that sounds to these ears like a mix of Celtic and country, sounds almost non-stop for long stretches of 100-minute non-stop performance.

The dynamic stage rock ensemble of music director-conductor Jan Eisendratt emphasizes my chops (not to mention violins, bodhrain, Irish bouzouki and uilleann pipes).

So is the cast, which includes a pair of Broadway stars (Tony nominee Chad Kimball of the Memphis Theater, which grows Playhouse, and Jen Colela of “If / Then”), but remarkable for its sense of a cohesive ensemble on the show. which has no traditional landmarks.

This is exactly in line with the modest egalitarian spirit of the townspeople, whom the actors portray together with the newcomers (all 14 play several characters).

Read the full review here.

Source by [author_name]

Happy
Happy
0 %
Sad
Sad
0 %
Excited
Excited
0 %
Sleepy
Sleepy
0 %
Angry
Angry
0 %
Surprise
Surprise
0 %
Previous post Using math to improve your workout
Next post As inflation continues, California lawmakers are urging Newsom to spend more on the poorest citizens