Avon Players’ ‘Come From Away’ and Healing Collective Trauma
Twenty-five years. An anniversary that no one wants to remember, of a day that no one will ever forget. September 11, 2001, forever changed the world, and yet somehow everything kept revolving. Jobs had to be done, bills had to be paid, and lives had to go on. Together, the world picked itself back up, and everyone just pushed forward. And not that anyone ever forgot, but there was a sense of moving on, both in our daily lives and in the grander scheme of things. Much like the American way when it comes to trauma, we collectively shoved it down and continued to push through all the heartache and pain until we no longer thought about it on a daily basis. And yet, there are moments when the tragedy comes to the surface, and collectively we have to face it, much like when the audience was gathered on opening night of Avon Players’ production of Come From Away.
As with most opening-night audiences, there was noticeable excitement for what was about to be presented; but that night, something more was there. Nerves? Anxiety? Perhaps a mixture of both, but whatever it was, something different charged through the air as the lights dimmed and the band struck their first note. Healing began as the actors filed onto the stage in a way I don’t think many expected or could even comprehend in the moment, but was absolutely needed 25 years later. With every joke and musical number that rolled on, a community stitched together an emotional and psychological wound that desperately needed triage.
[Warning: spoilers from Avon Players’ production of Come From Away are below!]
A story of healing unlike any other
While the story takes place during and in the days after the September 11th terrorist attacks, Come From Away isn’t about the tragedy itself. As an audience member, you’re not surrounded by the unbearable weight of what happened that day (although you do feel that weight in moments of the show), but instead, you’re welcomed into a story that is about finding hope and perhaps just a touch of happiness during one of the world’s darkest days. And to think, it took only seven thousand passengers being stranded in Gander, Newfoundland, to find that.
Come From Away is almost so far removed from 9/11, both in terms of geography and the story itself, that it allows audiences to finally do something that they’ve needed to do for a long time: grieve. Sitting inside the A-frame theatre among the other attendees of the sold-out show, you could feel the emotions start to take over as we collectively began to process what happened that day. For over two decades, we’ve been steeling ourselves for what happened that day, just like the generations before us did with World War II or what happened in Vietnam. Yes, we remember, but talking about what happened to the World Trade Center and, taking that a step further, actually processing that almost seems a step too far.
As we say in the psychological world, men are socialized to never address their feelings. You’re supposed to suck it up and just deal with it. However, I’d argue this outdated, old-school mentality isn’t just reserved for men; it’s how the world tends to operate. We don’t like to admit when we’re having a difficult time. Few people would take pleasure in saying that the weight of the world can feel so heavy. While I was a child when 9/11 occurred, even I could see that we were expected to continue on with day-to-day operations. You’re supposed to go to school, complete your job, pay your bills, and move on.
However, it’s difficult to move on when you can’t process. No, not difficult. Damn near impossible. True healing begins when we can face the trauma in a safe place and confront the feelings holding us down. That’s exactly what was happening at Avon Players. Together, the audience, along with the cast and the crew, confronted the uncomfortable truths we haven’t wanted to face in a long time. What happened was not okay, and the scars left in our collective psyche will never heal the way we want. We can never have the world we had before those planes flew into the Twin Towers, but we can build towards something better.
Through sorrow, we can find normal again. Hannah spends most of this musical searching for her son, a firefighter in New York. She’s lost in her grief, unable to see past the reality that she knows is waiting for her back home. And yet, she connected with another, Beulah, someone who not only sees her, but understands her. Hannah stands as the shepherd for everything we lost that day, both in our personal lives and for the world, and the relationship she develops with Beulah showcases just how some things can’t be replaced, but we can find something new, and perhaps just as beautiful. That message carries weight on both sides, which Catherine Flores as Hannah and Pamela Plewa as Beulah handle with bountiful grace and devastating beauty. And by recognizing our sorrow and giving it the attention it deserves, we begin stitching that wound.
Through Community, we find peace. If one piece from Come From Away stands out, it’s the message that we’re nothing without our people. For most of us, it’s the people we’ve had with us through thick and thin, but for those in this musical, it’s the people who open their arms without knowing anything about you. Gander accepted an impossible task and did so with nothing but love, which you see in the way Avon has put on this show. This production of Come From Away has shown just how important community is. In moments that we can’t seem to function, we should rely on those around us. We should be willing to accept help and offer it to our fellow humans. You see this sentiment in the story of Bob, who is about as New York as you can be, but becomes a true Gander as he sheds that tough exterior. Community can heal just about anything, and Alex Link’s brilliant performance speaks to that. Or even Kevin T., who had a wonderful life before coming to Gander, but also found something he was looking for that he didn’t even know was missing. He needed a moment to feel free, to find himself, which he never could have done without the people of Gander. Kevin T. has always been one of my absolute favorite characters in this show, and it should come as no shock that someone as unbelievably talented as Geoff Wickson continues to make his mark on this special character. Another stitch.
Through laughter, we can find happiness. Come From Away doesn’t shy away from the humor, which is both essential to the story and to the healing happening in the audience. If we don’t laugh, we’re bound to cry. More so, we’re bound to fall into a depressive state that we may not be able to climb ourselves out of. Laughing is truly the best medication, and we don’t remember that enough. While the show has many humorous parts, it’s RJ Miller-Zelinko as Oz and other characters who drive this point home. Miller-Zelinko’s comic timing is unmatched in this production, providing necessary moments to breathe through the tears and release the pain. Or the more subtle but just as important humor of the brilliant Nikki Mullaly as Janice. Her delivery sneaks up on the audience, but it also sends them into fits of giggles before smacking you with reality in the next breath. Or the boisterous humor of Doug Clark as Claude, teetered on the edge of funny and full of heart. Or let’s not forget Tarek Murray, who’s as funny and engaging as Kevin J, delivering the laughs you need at just the right moment. And with that, the wound closes a bit more.
Finally, through love, we learn we can handle anything. This show has so many variations of love that it’s hard to pinpoint which matters most. Romantic love through the story of Nick and Diane, which is definitely one of the selling points of Avon Player’s Come From Away, thanks to wonderful performances from Ryan Gigliotti and Patricia Rutkey, respectively. What magic to find your person in the most unlikely of places. Self Love follows Beverly’s journey, proving that if you truly want something and respect yourself enough to achieve it, you can. Caitlin O’Brien has done wonders with Beverly, with her rendition of “Me and the Sky” being an absolute showstopper.
However, I think I saw the unconditional love I mentioned earlier in all the people of Gander who stood up on a difficult day without thinking twice. Take Bonnie, for example, whose love for animals drove her into perilous situations. All she cared about was making sure those who couldn’t fend for themselves were taken care of, giving her one of the show’s biggest emotional moments. Hannah Johnson made me laugh and weep in the span of moments, which is a testament to her acting. And that’s just one of a thousand ways that Gander continued to show up, without questions, without judgment, but with the biggest heart, just full of love.
Final thoughts on Avon Players’ Come From Away
As each piece comes together, you begin to see that the audience that gathers before the show starts is not the same one that walks out the doors at the end of the evening. Together, we formed our own Gander, Newfoundland, bringing forth the healing we all needed and craved. For once, we allowed ourselves to process the grief we’ve been holding onto, and found a new way forward together. As Come From Away spreads its story from one community theater show to another, I think that growth and healing will finally happen, making way for something new and just as beautiful to develop. And that’s perhaps the greatest gift Come From Away and director Ryan Moore could give us.
Find more information about this and future Avon Players productions on their website! Have you had a chance to see their production of Come From Away? What did you think? Share your thoughts on social media and tag @bsb.insider to continue the conversation!
Exclusive Interview: Geoffrey Wickson & Nikki Mullaly of Avon Players’ Come From Away
