Camelot — Music Theater Works (10/21/22)

The version of Camelot currently being produced by Musical Theater Works is an experiment in evolving old-school musicals. Other productions of Camelot that I have seen have always involved large casts and long run times. In fact, a 2012 staging by Light Opera Works (which became Music Theater Works several years ago) ran over three hours despite cutting “Fie on Goodness!”—one of my favorite songs. The current version playing at the Center for Performing Arts in Skokie is just under two hours and features a minimal cast of just nine actors.

The origins of this version of Camelot date back to 2014, when New York director David Lee revised the script condensing almost all of the exposition to sentences narrated by various cast members. The philosophy is that the strength of Camelot is the songs by Lerner and Loewe, while its original book (also by Lerner) is bogged down with too much Arthurian lore. Does this version work? Yes, in many ways it does.

Christine Mayland Perkins (Guenevere) and the rest of the cast minus Arthur and Lancelot perform “The Lusty Month of May.”

Beginning with some strengths, Christine Mayland Perkins as Guenevere has fantastic comic timing. Many of her lines reflect a character who is amused by the chivalry of the Middle Ages, quietly laughing at those knights who take themselves too seriously. As Arthur, Michael Metcalf brings a deep voice to the role that helps to establish his authority as a notably young and idealistic king. Regarding the entire cast, a central premise is that this staging is a throwback to the traveling troops that were the basis for drama back in Arthur’s time. This allows for non-traditional casting decisions including Nathe Rowbotham as Lancelot. He is not the physically imposing actor that is often chosen for Lancelot, but he does have a strong voice for performing “C’est Moi” and “If Ever I Would Leave You.”

Tommy Thurston (Sir Lionel), Parker Guidry (Mordred) & Sarah Patin (Sir Dinadin) perform “Fie on Goodness!”

The best embodiment of how David Lee’s adaptation works seamlessly occurs in the second act. Parker Guidry is exceptional as Mordred, a role which often leads to scene stealing. Credit costume designer Martha Shuford for Mordred’s black kilt, which is a perfect blend of Camelot’s intended time period with contemporary influences. Usually, Mordred sings “The Seven Deadly Virtues” and then about 20 minutes pass before he leads the rousing “Fie on Goodness!” In this version, the songs flow back-to-back and none of the omitted action or character development is missed. The payoff is showing just how quickly Mordred and his lethal influence can collapse of all of the principles Arthur has struggled to create. In fact, “Fie on Goodness!” with just four actors is a surprise highlight. The disdain of the frustrated knights is reflected well in the facial expressions and voices of just three knights played by Sarah Patin (Dinadin), Hannah Mary Simpson (Sagramore), and Tommy Thurston (Lionel).

Walking into Camelot, I did not know I would be viewing a musical with a revised book. My first clue was when Arthur narrated that Merlin had disappeared following his enchantment by the nymph Nimue, a scene which is usually dramatized on stage and ends with the powerful moment when Merlin exclaims that he forgot to warn Arthur about Lancelot and Mordred. Some of the emotions behind the love triangle powerful enough to destroy a kingdom are similarly lost in abridgment; however, so are the unnecessary comic scenes involving Sir Pellinore. While I missed aspects of the longer Camelot, this experiment proves that older works can evolve in ways that make them more feasible for smaller companies to produce. Also, if I could make one suggestion to all future productions of Camelot, it would be to slow down “If Ever I Would Leave You.” One of the most enduring love songs in all of musical theater wizzes by in barely over two minutes, which is simply not enough time.

Camelot runs through November 13 at the North Shore Center for Performing Arts in Skokie. Also of note is Music Theater Works’ 2023 season, which features the rare combination of 5 always enjoyable musicals: Avenue Q, Pippin, The Producers, Brigadoon, and Shrek: the Musical.
Camelot — Music Theater Works (10/21/22)

Godspell—Theo Ubique (7/16/22) & Jesus Christ Superstar—Cadillac Palace (7/20/22)

I’ll begin with the disclaimer that this comparison of productions of Godspell and Jesus Christ Superstar might imply a strong bias for Chicago’s storefront theaters over the Broadway in Chicago touring companies. I love both, but it does happen that this production of Godspell from Theo Ubique exemplifies the best of storefront theater, and the 50th Anniversary tour of Jesus Christ Superstar is all volume and glitz with no substance.

Godspell and Jesus Christ Superstar are linked in many ways. Both premiered in the early 1970’s (Godspell Off-Broadway in 1971; JCS on Broadway in 1972) and explored the concept of Jesus as an anti-establishment hippie. Godspell is the first hit from American composer Stephen Schwartz, and Jesus Christ Superstar is the first hit from British composer Andrew Lloyd Weber, who was notably born just 18 days after Schwartz. Behind The Lion King, Schwartz’s Wicked and Lloyd Weber’s The Phantom of the Opera rank as the second and third most profitable musicals of all time.

Austin Nelson, Jr., directs a parable with Matthew Hunter at the center.

One of the advantages of a storefront theater like Theo Ubique is the potential for an intimate connection between the cast and audience. One of director Christopher Pazdernik’s main conceits for Godspell is that the actors are all playing versions of themselves. The exceptional lead Austin Nelson, Jr., is referred to as Austin (rather than Jesus) as he manically conducts the rest of the cast in acting out parables. The evidence of Nelson’s conviction to his role is present in the layer of sweat that streams down his face from beginning to end. Anna Marie Abbate is referred to as Anna Marie (rather than Judas or John the Baptist), and she plays the role with commendable subtly, displaying skepticism toward Austin’s teachings that foreshadows the character’s later betrayals. The entire cast is given a great freedom in acting out the parables, and they often insert modern allusions for comedic effect.

(front) Austin Nelson, Jr., Izzie Jones, Hannah Efsits & Ashley Saul

The set is a path running across the floor creating a perception that the characters are meeting in a park, and the audience are passersby who cannot help but watch the scenes emerging before them. The main cast of 10 manages to perform intricate choreography that never feels limited by the long, narrow shape of their stage, but the most significant highlight is the singing. Each of the 10 leads performs a song beginning with Izzie Jones’s infectious “Day by Day.” Matthew Hunter is another standout using powerful lead vocals in “Light of the World” before sending the audience into the intermission. All told, Godspell succeeds beyond expectations at using its small space to provide a memorable experience for its audience, who is close enough to touch the action.

Jesus Christ Superstar, on the other hand, seems to be working toward the opposite ambition of isolating its audience from the emotions of a powerful musical. Early on, I realized that the presentation was more consistent with a rock concert than a performance of musical theater. The lead actors held microphones and often played guitar during their solos (remaining mostly stationary to the action), which is an interesting idea for a rock opera. However, in practice it led to a sense that each song was its own separate entity. Therein lies the main problem with this production. When the talented Jenna Rubaii as Mary sings a countrified version of “I Don’t Know How to Love Him,” she is more reminiscent of Carrie Underwood singing on stage rather than a character dealing with complex issues. Similarly, Aaron LaVigne as Jesus seems to be channeling Steven Tyler during “Gethsemane” (known by the repeating lyric “I’d Want to Know, My God”). He demonstrates his frustration at God by throwing the microphone stand upstage, but such antics are a distraction when the song itself—usually my favorite in the musical—communicates so much about Jesus’s mindset. Omar Lopez-Cepero as Judas focuses more on jumping around his significant vocal range than articulating what Judas had to say. What astonished me most was I left the theater not humming a song, which was far from the case after my two viewings of the superior 2017 production at the Paramount Theater.

Aaron LaVigne (Jesus) & Jenna Rubaii (Mary)

The concept is consistent with the origins of this official 50th anniversary tour, which began at the open air theater at Regent’s Park in 2016, and what I sat through in Chicago would have worked well in an outdoor amphitheater with half the seating of the Cadillac Palace. At the very least, the opening chords of the overture would have been less ear-splitting in their volume. This production is not unbearable, but it needed someone at some point to consider that less can be more when starting with a compelling story and a full roster of memorable songs.

Both Godspell at Theo Ubique and Jesus Christ Superstar at the Cadillac Palace run through July 31.

Godspell—Theo Ubique (7/16/22) & Jesus Christ Superstar—Cadillac Palace (7/20/22)

A Case for the Existence of God–Signature Theater, NYC (6/1/22)

A Case for the Existence of God is something a little different for playwright Samuel D. Hunter, whose other plays have titles that either convey broader thematic ideas (The Whale, Rest) or allude to their Idaho settings (Pocatello, Great Clements). This more provocative title is fitting because A Case for the Existence of God includes a very personal fingerprint for Hunter, who continues in this latest work to do what he does best: masterfully explore the value, complexity, and necessity of human connections.

Will Brill (Ryan) & Kyle Beltran (Keith)

Hunter and his husband adopted a baby girl, who is now preschool aged, and the emotional ties of fatherhood are central to the two characters he brings to life. Keith (Kyle Beltran) and Ryan (Will Brill) meet through their daughters’ day care, and at the play’s beginning that small connection has progressed to a professional relationship. Keith, a mortgage broker, is trying to help Ryan secure a loan for a property that holds sentimental value for him. The plot is parsed out through a series of conversations that occur as Keith and Ryan form a lasting friendship.

Continue reading “A Case for the Existence of God–Signature Theater, NYC (6/1/22)”
A Case for the Existence of God–Signature Theater, NYC (6/1/22)

Evita–Drury Lane (3/17/22)

Back in the mid-1980’s, Andrew Lloyd Weber seemed to have a Midas touch that would never fade. Just looking at my own history of musical viewing reveals a giant Lloyd Weber fingerprint: Joseph was the first professional show I even saw (at the Marriott Lincolnshire), and not long after Cats was my first big-budget, downtown musical. Soon enough, Phantom arrived at the Auditorium with a massive traveling show, and it stands in my memory as the first show I left disappointed following tremendous hype.

Richard Bermudez, Addie Morales & Sean MacLaughlin
Continue reading “Evita–Drury Lane (3/17/22)”
Evita–Drury Lane (3/17/22)

Relentless—Goodman Theater (4/12/22)

Relentless was the first hot ticket of 2022 for Chicago theaters. The Timeline production sold out in its January-February run and even offered streaming options in its later weeks. The show has since transferred to the Goodman Theater, where it is playing next to Good Night, Oscar—a production combo of this quality arrives maybe two or three times in a decade. Tyla Abercrumbie’s script is particularly praiseworthy for developing intricate connections between its six main characters with the predominant action taking place in 1919 at the dawn of “Red Summer,” a period marked by nationwide racial violence against African Americans.

Ayanna Bria Bakari (Annelle) & Jaye Ladymore (Janet)
Continue reading “Relentless—Goodman Theater (4/12/22)”
Relentless—Goodman Theater (4/12/22)

Sweat—Copley Theater (4/9/22)

The Paramount Theater made a fitting choice for the inaugural play of their new Bold series at the Copley*, which is a small venue across the street from their much larger playhouse in downtown Aurora. Sweat won the 2017 Pulitzer Prize for its insightful examination of factors that have contributed to the polarization of America. Its characters and themes were very relevant during its Chicago premier at the Goodman in 2019, and (sadly) they feel even more relevant today.

Shariba Rivers (Cynthia), Randy Steinmeyer (Stan) & Tiffany Bedwell (Jessie)
Continue reading “Sweat—Copley Theater (4/9/22)”
Sweat—Copley Theater (4/9/22)

Musicals from Disney Theaterical Productions

Disney’s Frozen continues its run at Chicago’s Broadway Palace through January 22, and it is worth seeing not only for the theatrical effects but also for the songs and story. Seeing Frozen led me to consider the progression of musicals from Disney Theatrical Productions, which began its Broadway affiliation more than 25 years ago with the premier of Beauty and the Beast.

This post will look back at the 11 Disney Theatrical musicals that I have seen. For a more complete list including shows in production, check out this link. In addition to ranking the musicals, I am also going to look at each musical’s role in the 25-year progression of Disney’s theater arm.*

Continue reading “Musicals from Disney Theaterical Productions”
Musicals from Disney Theaterical Productions

Hadestown—Broadway (10/10/21)

Anthony Doerr’s novel All the Light We Cannot See includes the best representation of love that I have ever read in a novel. The two main characters—a 16-year-old blind French girl and an 18-year-old German soldier—meet In Saint-Malo, France, after traversing each other’s paths for the entirety of World War 2. Marie-Laure and Werner are together for only a few hours after being trapped for days in near-death experiences. With each rereading, I always hope the conclusion of the scene will be different—the words in the book will change, and my memory of the actual ending will somehow be wrong. That is how much Doerr has made me care about these fictional characters and their bond.

Published by AmFrederick on DeviantArt.

I experienced this same emotion in the Walter Kerr Theater while watching Hadestown. One decision I have made as a theater-goer is to learn as little as possible about a play before seeing it. I do not listen to the albums or watch clips online or read summaries of the plot because nothing can recreate the lasting impact of something unexpected on the stage. In the case of Hadestown, the moment I will always remember is the dramatic shift from a beautiful song to complete silence.

Continue reading “Hadestown—Broadway (10/10/21)”
Hadestown—Broadway (10/10/21)

Great Broadway Solos (sung by women)

Few experiences in musical theater can match the exhilaration felt by the audience and the performer during a remarkable solo. The best of solos – the true upper-echelon – provide a deep insight into not only the character’s mind but also the unique world in which he/she lives.

For this blog, I am going to focus on some of the best solos in which female performers put everything on the line. They are experiencing some form of crisis, and by the end of the song the character’s inner turmoil reverberates through our brains as much as the song’s melody. Some of these songs are recognized Broadway canon, but a few are more unique to my tastes and memories.

#7 – “Acid Queen” (The Who’s Tommy)

What it’s about: desperation and addiction

I could not find any quality photos from “Acid Queen” in the original Broadway run, but I do vividly remember the Gypsy’s bright yellow dress.

The Who’s Tommy was my first Broadway musical, an interesting choice for a sheltered middle-schooler more familiar with REO Speedwagon than The Who. I don’t remember if I even knew what “dropping acid” meant when I walked into the theater, but I sure knew by the number’s end as the silhouetted Gypsy shoots heroine into her arm. At intermission I peppered my mother with questions about how “Acid Queen” fit into the plot, and she responded, “In the 60’s, some people just liked to write songs about drugs.” Years later, as I found myself listening to this song on near repeat (maybe even belting along when I was alone), I realized that the greatness of “Acid Queen” is that the performer’s manic intensity is an embodiment of the character’s addiction. The Gypsy needs Captain Walker’s money, and to get it she is willing to “tear [Tommy’s] soul apart.” “Acid Queen” is the Gypsy’s only song, yet it serves as the rock bottom of the psychedelic experience that is Tommy’s journey.

#6 – “I’m Still Here” (Follies)

What it’s about: persevering in the long game

Polly Bergen’s performance as Carlotta is immortalized in her performance at the 2001 Tony awards. The main link (which is the full song) is from the Drama Desk Awards.

The 2001 Tony Awards were dominated by The Producers, which set the record by winning 12 Tony Awards, a sweep of every musical category except Leading Actress. However, I contend that amid all the hype was one of the greatest gaffs in Tony Awards history. Namely, the late Polly Bergen should have beaten The Producers and won Best Featured Actress in a Musical for her performance of “I’m Still Here” in the Roundabout revival of Follies. As the title implies, “I’m Still Here” is a tour-de-force number. Sung by the character Carlotta Campion, the aging actress tells the story of career setbacks and humiliations articulated by some of Stephen Sondheim’s most glorious lyrics (“First you’re another sloe-eyed vamp / then someone’s mother, then you’re camp”), and ultimately her success is attributed to the fact that she relied on no one but herself. Bergen’s performance was a lightening-in-a-bottle moment followed of waves of applause that started thunderous, then died down before reigniting multiple times, ending only after Bergen signaled her exit stage right.

#5 – “Music and the Mirror” (A Chorus Line)

What it’s about: needing a chance

Broadway veteran Charlotte d’Amboise gave a commanding performance as Cassie in the 2006 revival. The full 10-minute scene is linked.

A number of moving parts contribute to the anticipation of “Music and the Mirror.” Subtle inferences that Zack and Cassie have a troubled past build to a fever pitch when the two finally share a dialogue. With Cassie exposed on center stage and Zack unseen from his director’s booth, Cassie is forced to beg just to continue her audition: “I need a job. I need a job and I don’t know any other way to say it. Do you want me to say it again?” Once the music begins, an actress must convey the desperation of the lyrics (“Put me to work, you would think that by now I’m allowed. I’ll do you proud.”) over the increasingly intense trumpet flourishes and drum licks. Other characters in A Chorus Line sing about their love for dancing, but Cassie is in a higher plane: her need to dance is expressed in every step of the 5-minute dance solo. As a character, Cassie is extremely vulnerable, but when she dances she takes full control of the stage.

#4 – “The Ladies Who Lunch” (Company)

What it’s about: existential crisis

Patti LuPone performed as Joanne in the 2011 filmed version of Company, which also starred Neil Patrick Harris as Bobby.

My first exposure to this Sondheim classic from 1970 was, unfortunately, in the form of the Forbidden Broadway parody “The Ladies Who Screech,” which is more obnoxious than funny (although Elaine Stritch’s rendition does become a bit screechy). What I have since discovered is that the extended belting at the end of the song (“Everybody rise. Rise. Rise, rise.”) is the musical embodiment of how Joanne perceives her own existence – she is bored, trapped in a tedious life with little to drink to beyond wealthy women who hide their own banality by shopping and taking art classes and (of course) meeting for lunch. The lyrics for “The Ladies Who Lunch” provide opportunity for each actress to tell a unique story. The best interpretation belongs to Patti LuPone, but don’t discount the Camp version in which a teenaged Anna Kendrick accentuates her anger by shattering her own martini glass.

#3 – “No Good Deed” (Wicked)

What it’s about: the dark side of human nature

I have seen many actresses perform Elphaba, and Stephanie J. Block was my favorite. She is seen here reading from the Grimmerie during “No Good Deed.” The main link is Shoshana Bean performing.

The first act of Wicked focuses heavily on plot development, moving from Elphaba’s birth to her renunciation of the Wizard. The second act of Wicked slows the pace and emphasizes Elphaba’s internal struggles as she becomes The Wicked Witch, and the anchor of that second act is “No Good Deed.” Beginning with a rhythmic chant of magical words, the song lulls the audience into Elphaba’s turmoil before Stephen Schwartz’s lyrics expose the frustrations of her failures. When Elphaba sings, “One question haunts and hurts / Too much, too much to mention. / Was I really seeking good / Or just seeking attention?” Schwartz manages an ingenious summary for Gregory Maguire’s novel. The musical is lighter in tone than its source material, but “No Good Deed” creates a momentary glimpse into the question surrounding Elphaba’s life: was she predestined toward wickedness, or is her wickedness a result of her own actions? For both melody and emotional impact, “No Good Deed” is the best song in Wicked – greater even than the more popular “Defying Gravity.”

#2 – “I Have Four Children” (Caroline, or Change)

What it’s about: working hard but still getting nowhere

Tanya Pinkins starred in the original 2004 production of Carline, or Change, taking on one of the most physically and emotionally grueling roles in musical theater.

On my last viewing of Caroline, or Change, a brilliant 2018 collaboration by Timeline and Firebrand theater companies, I had a distinct lyric in my head at the start of intermission and even at the end of the show. Anchored by a rhythm reminiscent of the repetition of a basement dryer, Caroline sings, “And I am mean and I am tough but…/ Thirty dollars ain’t enough./ Thirty dollars ain’t enough.” This is an anthem for Caroline Thibodeaux, a maid in 1963 Louisiana struggling to support three children on her dismal salary (her oldest son is in Vietnam). This opening song with lyrics by Tony Kushner and music by Jeanine Tesori combines the soul of blues and the rigors of opera. Caroline’s tribulation is to hold tightly to a world which stacks the odds against her while knowing that she cannot last much longer. Caroline is one of the most difficult parts in any musical, and I have been very fortunate to see Tonya Pinkins (2004), E. Faye Butler (2008) and Rashada Dawan (2018) each excel in the role.

#1 – “Cabaret” (Cabaret)

What it’s about: making a definitive choice

Kelly Felthous starred in Paramount Theater’s exceptional 2018 production of Cabaret. The main link features the late Natasha Richardson in a rendition of “Cabaret” that demonstrates the depth and versatility of the titular song.

I remember the awe I felt upon seeing the song “Cabaret” performed live for the first time. This was the 1998 Broadway revival at Studio 54 and Molly Ringwald (performing in 2002) was one of many capable actresses to step into the role of Sally Bowles. I was well acquainted with the song and understood it to be a celebration of life: “Come taste the wine, / Come hear the band./ Come blow a horn,/ Start celebrating;/ Right this way, your table’s waiting.” In fact, Liza Minnelli’s movie performance (directed by Bob Fosse) is an ode to exuberance. Imagine my shock upon seeing that this number had been completely turned on its head for the revival. Gone was the carefree ignorance of the growing Nazi presence. It was replaced by Sally clinging to her last thread. The world is crashing around her, and suddenly the morbidity of a song about a deceased prostitute/roommate is foreshadowing the oncoming destruction – a calamity that Sally is unlikely to survive. The magic of “Cabaret” is that the song is remarkable either way. It can be a boisterous drinking song or a sad commentary about futility.

Thanks for reading. Theater was all but nullified for most of 2020, but I am hopeful that the arts will make a slow reemergence in 2021. If you have other favorite female solos, post them in the chat. I am planning on posting in the near future a similar blog featuring favorite male solos.

Great Broadway Solos (sung by women)

Tony Awards Tournament Finals — The Best Musical 2010-2019

Hamilton vs. Come From Away

Winner: Come From Away

Am I committing an act of musical-theater sacrilege by not naming Hamilton the best musical of the decade?

To begin with some similarities, both Hamilton and Come From Away are sung-through musicals exploring key moments in American history. They both begin with toe-tapping expositional songs (“Alexander Hamilton” and “Welcome to the Rock”) that introduce not only the characters and settings but also unique narration styles. They both have show-stopping power-ballads (“Wait for It” and “Me and the Sky”) in which characters connect their passions to their fears. They both have songs that explore the pressures of time (“Nonstop” and “On the Edge”) and songs that divert from the style of the show to relieve tension (“What’d I Miss” and “Screech In”).

Hamilton‘s Daveed Diggs performs “What’d I Miss.”

Hamilton is the more extensive musical – it’s an hour longer and covers a span of 28 years. It explores the political maneuverings needed to secure a strong federal government back in 1790, and by extension manages to communicate a great deal about the divided politics of today. For many, the casting of Hamilton emphasizes the degree to which America is and always has been a land of diversity.

Come From Away is much smaller in scale – it is under two hours with no intermission, features a cast of 12, and uses a limited set comprised mostly of chairs and creative lighting. Yet, while Hamilton persuades us to reexamine events that define America, Come From Away inspires us to find hope within the tragedy that defined an entire generation. I am sure everyone 30 years and older remembers the moment he/she first learned of the terrorist attacks on the World Trade Center towers on September 11, 2001. I was 23 on that day, working as a graphic artist in New Jersey, when our art director’s phone rang. While listening to his wife, he told me, “Someone just flew a plane into the World Trade Center.”

Becky Gulsvig performs as Beverly in the touring company of Come From Away.

What makes Come From Away so exceptional is its exploration of how the shock and horror following the attacks engendered unified experiences. It turns out there is no better place to explore community than Newfoundland. As “Welcome to the Rock” tells us, Newfoundlanders have survived harsh weather, grueling waters, and loss of loved ones, and yet they maintain overwhelming optimism grounded in their pride for being Islanders. From the moment that Bonnie says to Oz, “Jesus H, Oz! Turn on your radio!” Come From Away moves through the moments following September 11 that exist in our shared memories. Here are just five scenes that invoke significant emotional reactions:

  • In “Bedding and Blankets”, Newfoundlanders feel stir crazy from the constant, repetitive news coverage: “Can I help? Is there something / I need to do something / To keep me from thinking of / All of those scenes on the tube.”
  • In “Phoning Home”, the stranded passengers forego exhaustion and hunger for the chance to assure their loved ones that they are okay.
  • In “On the Edge”, Ali endures unwarranted hostility from other passengers because he is Muslim.
  • In “Costume Party”, Beverly (an American Airlines pilot) announces to the passengers on her plane that the United States airspace is still closed, and no one knows how long it will be before it reopens.
  • At the end of “Something’s Missing”, a song about how quiet Gander seemed after the passengers departed, Hannah calls Buelah to announce that “It’s over,” meaning that there is no longer hope that her son, a NYC firefighter, survived.
The Broadway cast performs “28 Hours”, in which passengers contend with being stuck in their planes on the runway for as long as a full day.

Even with scenes that so effectively pay tribute to all that was lost because of the terrorist attacks, Come From Away is more about generosity than despair. The 7,000 plane people discovered that they had landed in a world of front doors that are never locked, casserole dishes too heavy to lift, and even an alcohol-induced initiation involving kissing a cod fish. Irene Sankoff and David Hein wrote the book, music, and lyrics after conducting interviews at the 10-year anniversary in Gander. This anniversary event becomes the setting for one of the most rousing final numbers in musical theater history. For days I was actively bobbing my head and singing aloud the show’s anthem: “I am an Islander.”

The touring company of Come From Away performs “Screech In”, in which four come-from-aways are initiated as Newfoundlanders.

Hamilton is extraordinary, but Come From Away – a small-scale Canadian musical – holds its place as my favorite musical of the decade. Its inspirational storytelling and quality songs create the perfect depiction of how the modern world finds hope within the shadow of tragedy.

Tony Awards Tournament Finals — The Best Musical 2010-2019