As the nation marked the 25th anniversary of the terrorist attacks in New York, Pennsylvania and at the Pentagon, people recalled the events and emotions that accompanied the tumultuous time.
Yet a whole generation has grown up without firsthand knowledge of that day.
Those under 25 — as well as those who experienced the angst as it happened — would do well to see “Come From Away,” the musical based on the true stories behind 38 overseas flights diverted to Gander, Newfoundland, after U.S. airspace was closed following the attacks of Sept. 11, 2001.
The term “come from away” describes outsiders to the close-knit permanent population of Gander and other small towns on the island known to locals as “the rock.” The town’s small airport took in the planes and almost 7,000 passengers, nearly doubling the population of 9,000 in a matter of hours.
The expectation was that airspace would open again quickly, so the townspeople mobilized to round up short-term food and accommodations for the confused and concerned fliers. As the closure stretched for days, the locals and the come from aways had to adapt, not without tension.
“Come From Away,” at Ford’s Theatre, brings together an ensemble cast of a dozen actors. Each plays multiple parts, often with different accents, moving from scene to scene as the venue shifts from a town hall to an airplane on the tarmac to a school, a bus and more. Adding or subtracting a jacket or sweater, a hat or glasses helps identify each character in the right moment. Somehow, these 12 performers represent the various constituencies of the 16,000 people who found themselves in Gander in mid-September 2001.
It is a credit to the cast that they shift seamlessly from part to part. The simple, practical set uses two concentric turntables to shift focus and move the story forward.
It is difficult not to get chills or be moved to tears as the ensemble sings “38 Planes” as they realize that first one jet arrives and then another and another.
There are elements of comic relief that break up the incredibly somber topic without minimizing the very real concerns of all involved.
The song “Prayer,” about halfway through the show, brings together the prayer of St. Francis with its well-known passage “Make me a channel of your peace,” and adds the Jewish prayer for peace, “Oseh Shalom”; daily Islamic prayers; and Hindu Sanskrit chants from the verse, “Asato Maa Sad-gamaya” (“lead us from the unreal to the real”).
“Prayer” pays tribute to people of faith who respond to hard times in similar ways, with a focus on peace, unity and compassion.
The real-life romance between Nick and Diane (played by Joe Mallon and Caitlin Brooke) that began among the stranded passengers comes to life on stage. Interesting to note, 25 years later they are still married.
Also featured in the play is Beverley Bass (played by Housso Sémon), who became the first female captain for American Airlines in 1986 at age 34. On Sept. 11, she was captain of AA Flight 49, a Boeing 777 from Paris to Dallas-Fort Worth that was diverted to Gander.
Members of a live orchestra, conducted by Mason Moss, join the characters on stage for a few numbers, bringing to life the musical underpinnings of the poignant show.
The narrative of Gander’s open arms has been told in documentaries and other projects. “Come From Away,” with its powerful songs and voices as directed by Kevin S. McAllister, tells the tale without being overdone. Rather, the musical presents just the right touch to recall that — in the aftermath of one of the most tragic events — people came together to help each other, despite any differences.
Content advisory: a few instances of rough language; an incidental same-sex relationship; and themes of loss and anguish.
“Come From Away” runs through Oct. 25 at Ford’s Theatre in Washington.
Contributing to this article was Managing Editor Ann M. Augherton. Gunty writes from Arlington.
