“Come From Away” never shies away from its impetus, nor from its ramifications, and yet it still chooses to focus the lens on creation rather than destruction. Musically, it’s written in a way that no singular tune disrupts that theme, either. The songs seamlessly intertwine with the narrative, which allows “Come From Away” to tell a unified story where all the pieces work together to make the whole even greater. The show’s made all the more personable by the casting, too, which deviates from the ebbing musical theatre stereotype by using more accessible and more varied bodies. It’s not just 12 ripped white guys in their early 20s, is what I’m trying to say.
I gravitate towards shows like “Come From Away” because I crave earnest kindness. Like the Plane People, the concept of altruism feels startling and foreign to me more often than I would like. Please don’t misunderstand, I’m as much to blame for that lack as anyone else, and watching the “Come From Away” proshot doesn’t replace an actual good deed but it’s a healthy reminder that there’s a world out there beyond my own jaded perception. Hmm, this is getting dangerously introspective. Let’s reorient the mirror. If you’re reading this at the time of its original publishing, the last day of 2022 (when did that happen?), you might be working on a few New Year’s Resolutions. Consider this one — be like the Newfoundlanders, I promise it will leave a lasting impression.
And, hey, if that’s too much, just start with watching the damn thing.