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YOUNGSTOWN -- Director Joe Asente referred to the live orchestra for Millennial Theatre Company's production of "Come From Away" as "the 13th scripted character" in the preview story for the musical.
Even to someone who frequently champions live music in stage productions, it sounded like hyperbole. But after watching the Sunday matinee at Youngstown Playhouse, where the show runs for three more performances, it made total sense.
Conducted by Nicholas Samson, the musicians -- most of whom are visible behind the actors throughout the performance -- bring a drive and energy to a musical that, frankly, gets far more attention for its emotional impact than it does for its melodies. The folk roots of Irene Sankoff's and David Hein's score are more predominant in the live orchestrations performed by Kristofer Downs, guitar; Vincent Vivacqua, bass; Enzo Chiodi, mandolin; Dan Shiller, bodhran; Katie Russel, whistle; Rachel Spak, fiddle; Steve Ley, percussion and Samson, piano.
The musical is based on the true story of the travelers on Sept. 11, 2001, whose flights were diverted to a remote airport in Newfoundland after all air travel halted following terrorist attacks in New York City and Washington, D.C. The townspeople of Gander and other small Canadian communities came to their aid, providing food and shelter, as well as compassion and a desire to make an agonizing situation a little more bearable.
Just about everyone in the large ensemble cast plays multiple characters, shifting from native Newfoundlanders to foreign travelers with only a minor costume adjustment. It's a credit to the skill of the cast and Asente's direction that those continual shifts back and forth never become confusing and oftentimes provide some humor, such as when Terry Shears plays the mayor of Gander and several other Canadian towns with some minor, rapid-fire tweaks.
There's little traditional dance in "Come From Away," but there are many instances where Colleen Chance's choreography complements the action, even occasionally when the actors are seated airline passengers (would that be chairography?)
Chance also is part of one of the show's more touching storylines, playing a divorced Texas woman who strikes up a relationship with a British engineer (Adam Scott) during their few days together in Canada. Their vocals blend beautifully on "The Dover Fault" and "Stop the World."
Kali Davies-Anderson soars on the show's biggest solo vocal number, "Me and the Sky," as Beverly, a trailblazing female captain on one of the planes grounded in Gander.
"Come from Away" is dominated by group numbers. It's a true ensemble show where everyone -- Maureen Collins, Molly Galano, Terry Shears, Jillian Hibbard, Rachel Franek, Beni El-Dalati Cruz, Ashley Conway, Arcale Peace, Ty Hanes, Sierra Ellis-Perry, Jacob Nash, Eric McCrea, Michelle Jalbert, Jill Cataldi, Brian Mann and Erik Anderson -- spends a significant amount of time on stage and everyone contributes.
The way the ensemble gels together vocally is a testament to the work of music director Cari Auth, and it echoes how the people of Gander and the surrounding communities came together to make an unbearable situation not only tolerable, but in some ways joyful.
The technical elements are equally impressive. With a giant map of the world as its backdrop, the stage is visually striking. And with the minimal amount of set pieces -- mostly the chairs the cast members carry around and rearrange in various configurations throughout the show -- the lighting design (also by Asente) plays a vital role in conveying those transitions.
Sometimes, it's hard not to sit through a community theater production and think, "Man, I wish I could have seen this on Broadway with the talent and resources available there." And sometimes it's, "I can't imagine this being done better." MTC's production of "Come from Away" is the latter.
There's been a lot of talk about lagging ticket sales in the concert industry, but I've seen many theatrical productions in the last year that had plenty of empty seats. It was encouraging to see "Come from Away" play to a full house (or very close to it) on the Playhouse's main stage Sunday.
This production deserves it and hopefully it will draw equally large and enthusiastic audiences for the remainder of its run.