By Lynn Venhaus

“Come From Away” wraps you in a warm hug and doesn’t let go.

Brimming with heart, humor and humanity, the 2017 musical arrived for its highly anticipated Muny debut with all the feels intact, making clever use of the expansive stage and its dynamic ensemble demonstrating the extraordinary power of kindness during adversity.

This deeply personal, emotionally complex story has resonated strongly with theatregoers, and the Muny’s customary attention to casting and execution put that at the forefront. The first-rate cast projects enthusiasm and affection for this material from start to finish, buoyed by the creative team’s excellence and the audience’s embrace.

The 100-minute show focuses on the town of Gander, Newfoundland, and its hospitable response to 38 planes landing at their airport with 6,122 passengers and 473 crew on Sept. 11, 2001.

After the terrorist attacks on the World Trade Center and the Pentagon, the FAA closed the US airspace and Operation Yellow Ribbon began – a coordinated effort to accommodate diverted flights. Gander was among the towns helping, including nearby Lewisporte and Appleton.

The company of the Muny production of “Come From Away.” Photo by Phillip Hamer

Gander, a Canadian community of about 9,600 and home to the Gander International Airport, opened their homes and converted schools and community buildings into shelters, becoming a beacon of light in the darkest of times.

In the U.S. and for those affected elsewhere, it was an anxious and uncertain period. The fearful passengers had to stay on planes for many hours, without any information other than it was an emergency, until they were officially released and herded into buses with only their carry-ons.

Based on these real people’s stories, the husband-and-wife team of Irene Sankoff and David Hein vividly wove acts of compassion, listening, laughing, hospitality and fellowship into a heart-tugging narrative to accompany their music and lyrics.

They also addressed challenges like culture clashes and language barriers, and how people worked through tense situations.

They focused on a rerouted American Airlines flight from Paris headed to Dallas. Because of Gander’s generosity to strangers who couldn’t leave for five days, lasting friendships formed, resulting in a 10-year reunion in 2011, where the writers interviewed those in attendance.

Heidi Blickenstaff in the Muny production of “Come From Away.” Photo by Phillip Hamer

“Come from Away” truly is a remarkable story, with distinct characters that touch our soul. Thus, a theatrical gem was born with tender loving care – now the longest running musical ever from Canada. The Broadway run, interrupted by COVID, played to sold-out houses for 1,670 regular performances and 25 previews from February 2017 to October 2022.

Nominated for seven Tony Awards, including Best Musical, Christopher Ashley won for directing. (“Dear Evan Hansen” was the big winner that night and will debut at the Muny in July).

A trio from last year’s revered classic “Les Miserables” has returned to craft another powerful tale of enduring connection – director Seth Sklar-Heyn, choreographer Jesse Robb (whose mother was born and raised in Newfoundland), and costume designer Gail Baldoni.

Their meticulous work, along with exemplary essentials from scenic designer Edward E. Haynes Jr., video designer Mike Tutaj, lighting designer Rob Denton, and wig designer Kelley Jordan, created a vibrant tableau that immediately drew the large Muny crowd into the Far North.

Haynes’ ingenious stairs-jet configuration rotated, using the turntable to swiftly create the necessary spaces. Tutaj’s video work uses news footage from Rogers TV and suggests locations like Tim Horton’s and Trailway Pub, to add awareness of time and place. And Denton’s superb lighting gave the show its usual intimate feel.

Alan H. Green in the Muny production of “Come From Away.” Photo by Phillip Hamer

As they seamlessly portray multiple roles – both townsfolks and ‘plane people,’ the players talk directly to us. The proud islanders start their routine on a Tuesday morning, introducing themselves in a chill-inducing “Welcome to the Rock.”

“You are here at the start of a moment…”

Our reaction is immediate, taking us right back to that frightening morning – when we heard, what we saw, how we felt – if you experienced it. If not, its tone is evocative of that tragic day and the aftermath.

Muny stalwart Adam Heller is well-suited to play the take-charge mayor, Claude Elliott, among other characters, leading the opening number and the raucous “Screech In” (involving kissing a codfish and downing rum shots).

Looking back, he tells the audience: “Tonight we honor what was lost, but we also commemorate what we found.”

Abigail Isom and Adam Heller in the Muny production of “Come From Away.” Photo by Phillip Hamer

With her powerhouse mezzo-soprano, Heidi Blickenstaff soars as the trailblazing pilot Beverley Bass in the signature song “Me and the Sky.” Impressive as mom Mary Jane in the national tour of “Jagged Little Pill” (including the Fox in January 2024), she is captivating as Beverley, whose passion for aviation drove her career but she now worries that her workspace has become a weapon.

The dozen performers, appearing like regular folk, clearly delineate multiple characters, whether through accents, wardrobe pieces or personality shifts.

Memorable “come from aways” include two-time Grammy winner Tamika Lawrence as Hannah O’Rourke, who is frantically trying to reach her son, a New York firefighter. Her solo, “I Am Here” is heart-breaking.

Stellar veteran performers John Bolton and Ashley Brown are a delightful duo as the British bachelor Nick Marson and divorced mom Diane Gray, whose budding friendship might be more.

A gay couple, “the two Kevins” – Jason Tam as Kevin Tuerff and Trey DeLuna as Kevin Jung, who seemed to be at odds, disagree often. One’s all in for being a good sport, and the other is not comfortable in the public situation.

Trey DeLuna and the company of the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

DeLuna, who was in the national tour, delivers a gut-wrenching turn as Egyptian chef Ali, who is under suspicion as a Muslim, and prejudice grows.

One of the most moving numbers is “Prayer,” showing travelers practicing their faith – Jews, Christians, Catholics and Muslims.

Alan H. Green is comical as Bob, who is confused by all the nice emanating from the locals. He also plays a pilot and an African traveler who can’t speak English. If he looks familiar, in St. Louis, he starred in “Sister Act” at the Muny and in “The Karate Kid” at Stages.

On the home front, total pro Zoe Vonder Haar is ideal as good-natured Beulah Davis, one of the major caregivers. And she doubles as a nervous flyer who gets tipsy and loudly sings “My Heart Will Go On” from “Titanic,” which they watched as an in-flight movie.

Likable Jacob Keith Watson smoothly transforms into the police constable Oz Fudge, a bar owner, Jewish rabbi, a surly traveler and others.

From left: Zoe Vonder Haar, Jacob Keith Watson and Jason Tam in the Muny production of “Come From Away.” Photo by Phillip Hamer

Seasoned Muny vet Abigail Isom is the amiable TV news reporter Janice, whose first day on the job is 9-11, and easily transitions to a freaking out flight attendant. She also plays a store clerk, getting laughs with: “Thank you for coming to Walmart. Would you like to come back to my house for a shower?”

Andrea Burns is the pragmatic SPCA representative, taking care of 19 animals in cargo cages, including endangered Bonobo chimpanzees that are headed to the Columbus Zoo in Ohio.

Dialect coach Joanna Battles helped the cast become Canadians with a specific accent, and their work was impeccable.

The teen ensemble acting as townsfolk and travelers include Chloe Jennings, Grant LaMartina, Annakait Peters-Bahkou, Drew Mathers, Jarod Rhodes, Jameson Roam and Will Schulte.

Standby for the women is Leah Berry and for the men, Spencer Davis Milford.

From left: Ashley Brown, Zoe Vonder Haar, John Bolton and Adam Heller in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

The vocally strong cast harmoniously blends together in the songs that are an integral part of the storytelling – “38 Planes,” “Blankets and Bedding,” “28 Hours/Wherever We Are,” “Darkness and Trees,” “On the Edge,” “Stop the World,” “Somewhere in the Middle of Nowhere,” and “Something’s Missing” – expressing the necessary emotions.

The unifying score reflects the cultural heritage of Newfoundland – using Celtic rhythms and traditional folk, and fuses neatly with emotive modern musical theatre elements.

The robust orchestrations are by Aaron Eriksmoen, with arrangements by Ian Eisendrath, incorporating a fiddle and even an “ugly stick” (household items) on stage.

The Muny orchestra, energetically led by music director Evan Roider, captures the score’s unique sound, adding a harp and whistles to its instruments.

The first national tour came to the Fox Theatre in May 2019, and a return weekend engagement followed in 2023, striking a chord (blubbered throughout, and I wasn’t alone).

With multiple cameras, Apple TV+ filmed the Broadway cast in front of a live audience, including some 9-11 survivors and frontline workers, on Sept. 11, 2021, commemorating the 20th anniversary. It has been available for streaming since Sept. 10, 2022.

Tamika Lawrence in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

While 9-11 was 24 years ago, that time is etched into our collective memories. After a touching brief display of unity and flag-waving, today’s America is very different.

We now have a divisive political climate that’s mean-spirited and worrisome. Then we were isolated during a global pandemic that impacted our lives, an ever-mutating virus that killed more than 7 million people. More short fuses, more fear of others, anger and outrage are prevailing attitudes.

Recently, in St Louis, the deadliest tornado since 1959 tore apart neighborhoods. Watching a community come together on the Muny stage recalled empathetic responses of the past six weeks here, for people stepped up when called upon to do so.

We’ve been through a lot – as a country and as a region. Yet, glimmers of hope emerge, along with everyday heroes, and it’s gratifying to feel the uplift that “Come from Away” provides.

Mission accomplished. Triumphing with its affecting production that appreciative audiences won’t soon forget, the Muny reminds us why our shared experience is what live theater does best.

The Muny presents “Come from Away” nightly at 8:15 p.m. from June 26 to July 2 at the outdoor theatre in Forest Park. The production is 1 hour, 40 minutes without intermission. For more information, or for tickets, visit www.muny.org

The company of the Muny production of “Come From Away.” Photo by Phillip Hamer
The company of the Muny production of “Come From Away.” Photo by Phillip Hamer

By Lynn Venhaus
With magic to do and the ‘Lou turning its lonely eyes to them, the Muny blazed another trail Monday with its introduction of “The Muny Summer Variety Hour Live!”

The first episode was a nifty package of show tunes, personalities, bouncy sing-a-longs, behind the scenes with dedicated staff and several special live moments, all shared on social media in real time by an audience spanning coast to coast. (Latest figures: 25,000 tuned in!).

Oh, what a treat to be reminded of what makes the Municipal Opera so special for 102 years – and not only because it is the oldest and largest outdoor theater in the country, but because it is “our Muny,” right here in St. Louis. And summer isn’t really summer until the Muny opens.

Two of our hometown’s greatest showmen – Lara Teeter and Ken Page – entertained us in royal fashion, with Tony nominee Lara recreating a vintage musical dance he called “Take Me Away!” as his fleet feet took him throughout the great expanse of the Muny grounds one sunny day. He was joined by his son Charlie in the segment.

And live, from the Culver Pavilion, with four musicians socially distanced, the regal Ken Page sang “Memory,” the signature song from “Cats,” in a showstopper that was one for the ages. Night had fallen, and this stage legend gave an emotional powerful rendition. Chills. Leaky eyes.

Add it to the countless memorable Muny moments we have experienced over the years, even though it was remote. We all felt it sitting in our living rooms.

When host Mike Isaacson, Muny executive producer and artistic director, began this maiden voyage from backstage, he said: “We are together in real time.” He is always mindful of being entrusted with the Muny legacy.

I literally burst into tears. I didn’t realize how badly we, well me, needed such a pick-me-up. Oh sure, I have been a realist as to the why, but still wistful: “This would be opening night at the Muny,” I said to myself June 15, remembering the rainbow that came out after intense rainstorm right before the opening of ‘The Wizard of Oz” in 2016.

Tammy Duensing and I at the Muny 2017

And there are those Facebook memories that pop up, recalling how I felt about a production or selfies with my frequent Plus One, Tammy Duensing, whose belting rendition of the national anthem always gets compliments from the people in the seats around us.

In a year that is all about Plan B while trying to be safe and adapt to unprecedented times during a public health crisis, this savvy move to online specials was a ‘next best thing’ scenario, a balm for disappointment. And spoiler alert – this starburst of a show is longer than an hour (thank you!) and it has a 7-minute intermission. What a grand night for singing! And dancing. And laughs.

What a jolly time the “Munywood Squares” trivia interlude was, hosted by the outstanding director Gordon Greenberg, with such good sports as E. Faye Butler, Ann Harada, Vicki Lewis, John Scherer, Christopher Sieber, Steve Rosen, Raymond J. Lee, all Muny favorites. I was able to see contestants staffer Jaclyn Sales and Leon Dobkowski for the first time, who has designed some of the best costumes in recent years (Tarzan! The Wiz! Hairspray! Mamma Mia! Seussical!) and on the panel Jeffrey Schecter (Schecky) when he is not a whirling dervish being Scuttle or Cosmo or filling in as Pseudolus in “Forum.” And J. Harrison Ghee, who was so memorable as Lola in “Kinky Boots” last summer, looked like a million dollars. No signs of Quarantine 15.

E Faye Butler in “The Wiz.” Photo by Phillip Hamer

Because the world turned upside down six months ago when the coronavirus spread became a global pandemic, life as we know it has changed in nearly every aspect. “The new normal” means live theater is on hold, for the most part, and that meant postponing the Muny’s 102nd season line-up to 2021. While the extended break is another sad sign of many life changes in 2020, that didn’t stop the creative minds churning to see how little bits of summer tradition could be rescued.

Online programming became the go-to, and the Cast Party reunion gatherings on Monday were a wonderful opportunity to connect with people who have given me a great deal of joy that is etched in my memories. The Muny TV YouTube channel is a treasure trove of spectacular dance moments and lustrous voices on a warm summer night. They brought us the Muny Magic concerts from the Sheldon, which were a showcase for the incredible talent that graces the Muny stage, and exciting show/cast announcements the past few years.

Using playful retro colors and designs, this “Summer Variety Hour” throwback to 1970s staple TV programs was a merry way to celebrate the good times we share with family and friends – only they used modern technology to make it happen. Zoom and other virtual platforms have been our saving grace during the lockdown.

Through the Brady Bunch grid of the Zoom, The buoyant Muny Kids sang “Happiness” from “You’re a Good Man, Charlie Brown,” demonstrating the exuberance of young talent. Not to be outdone, the gifted and energetic performers, often seen in the ensemble, under the helm of the Colby Dezelick Dancers, came together from their home spaces, to perform a lively “We Go Together” from “Grease.” Colby’s been a fun fixture on the Muny stage – last seen as Angie the Ox in “Guys and Dolls” and the doctor in “Matilda” in ’19.

Muny veterans Jen Cody and Hunter Foster, who have been married for 23 years, performed “The Doctor Is In,” from “You’re a Good Man, Charlie Brown.” Scenes of their past work – including Jen as the Grandma in “The Addams Family” with Puggsley (Michael Harp) in one of that show’s funniest exchanges, and Hunter in a new production of “Pirates!” were shown.

Of course, you couldn’t have a Muny show without displaying the exquisite voices that fill the back rows of the 11,000 seats, and Emma Degerstedt as Ariel certainly did in the inspired “The Little Mermaid” in 2017, one of my favorite productions in the past decade. Her “Fathoms Below/Where I Belong” evoked my water-colored memories of a sweet shimmering show. It was lovely to see the lithe Muny ensemble dancers as well.

Ashley Brown, a Muny player during her college years who originated the role of “Mary Poppins” on Broadway, has a glorious voice, as exemplified in “The Sound of Music” and “Cinderella” at the Muny. She sang “Climb Ev’ry Mountain” from her mother’s home in Florida, as her infant daughter napped.

Through archived clips, we saw a rousing “A Brand New Day” from the resurgent “The Wiz” in 2018, featuring Danyel Fulton as Dorothy, Jared Grimes as the Scarecrow, James T. Lane as the Tin Man and Darius de Haas as the Cowardly Lion. And “Lida Rose” from “The Music Man” with the Barbershop Quartet of Ben Nordstrom, Adam Halpin, J.D. Daw and Joseph Torello harmonizing beautifully.

Mamie Parris and Matt Bogart in “Paint Your Wagon” Photo by Phillip Hamer

To close, 18 cast members of last summer’s reimagined robust “Paint Your Wagon!” sang a vigorous “How Can I Wait?” from all over America, including leads Matt Bogart and Mamie Parris, and supporting players Omar Lopez-Cepero, Bobby Conte Thornton, Maya Keleher, Allan K. Washington, Andrew Kober, Austin Ku, Raymond J. Lee, Rodney Hicks and others. What a perfect song to end an enchanted evening with hope and love. (And it knocked the score of “Hamilton,” which has been playing on constant loop in my brain, since July 3, out and became my new ear worm. Go to Muny TV to hear Mamie Parris in the show.)

This monumental effort to pull all these segments together is applause-worthy – and the hours it took to plan and executive I can only imagine. Everyone was in high spirits – connecting us all in a new, and welcome, way.

If you missed the first one, you have one more opportunity to see it, for Episode 1 will be re-broadcast at 8:15 p.m. Thursday, July 23. There will be four more episodes shown every Monday, then repeated Thursday. On Wednesdays, they will announce the plans for the next episode on social media.

I took this photo during the Birthday Bash, when we could go on stage. May 2018.

We are not sitting under the stars in Forest Park, but Munygoers share a special bond, and this endeavor was a unique experience that brought back fond memories. Like many of you, I have a lifetime of them, starting when my grandma took me when I was 10, a poor kid from a big family in Belleville, watching live theater in wide-eyed wonder. Theater would become a major part of my life, and my appreciation began across the river on those warm summer nights.

One of my favorite things about Episode 1 was how they highlighted the many employees who make Muny nights happen by their tremendous commitment to this outdoor slice of theater heaven. There is such passion in their work. I enjoyed the back story of triple-threat Corbin Bleu, as Don Lockwood in the splendid “Singin’ in the Rain” in 2018, getting to dance in the rain for the first time in his rubber shoes, as told by production manager Tracy Utzmyers. And for technical director Tim McDonald explaining how they make the rain happen for that show, and the previous two, in 2005 and 2011.

And my favorite thing about the Muny since 2009, when a Belleville News-Democrat editor asked me to review the season and I enthusiastically said yes, is the possibilities that a new opening night brings seven times a summer. Will they pull off a premiere or classic with uncommon flair? Will everyone rise to the occasion? What will be the night’s “Wow” moments? I remain in awe of the talent and sweat equity it takes to put on a show, and I am enriched by the storytelling and the performers who connect with me, no matter where I am sitting.

And some have become familiar faces that I look forward to seeking out on stage, and I am grateful for these opportunities to see where the directors’ and production team vision takes me. It’s a all about a community coming together in collaboration – that’s what live theater is and what we miss. (That, and the hugs!).

And thanks to some shining moments Monday night, I was transported to a happy place — and just being able to think about the possibilities ahead, is reason to smile. This is only intermission.

Take care. Stay safe. Be strong.

And thank you Muny and your sponsors, for serving us a refreshing summer tonic that was part nostalgia and part pizzazz, and all heart. It might not be perfect – what live event is? – but it’s important.