During a week dominated by tragic air travel news, the heartwarming true-story musical ‘Come From Away‘, created by composer-playwrights Irene Sankoff and David Hein, offers a welcome source of comfort.
Running at the Academy of Music from Feb. 4 to 9, courtesy of Ensemble Arts Philly and the Shubert Organization, the show recounts the remarkable events in Gander, Newfoundland, following the September 11 attacks. When 38 planes carrying 7,000 passengers were unexpectedly diverted to Gander Airport, the stranded travelers and the town’s compassionate residents formed lifelong bonds.
Hein and Sankoff transformed the real-life experiences of those who landed in Gander during the 2001 attacks—along with the deep connections rekindled at their 10-year reunion—into a musical filled with heart and humanity. They crafted composite characters, such as “Beulah Davis,” inspired by Newfoundland teacher Diane Davis and local volunteer Beulah Cooper, brought to life on stage by actor-singer Kristin Litzenberg.
“I grew up in a household filled with music and theater, and my dad taught the marching bands at Upper Darby High School,” says Litzenberg in regard to catching the acting and singing bug early in her childhood. “I spent many a day and night seeing musical productions on Upper Darby’s Summer Stage, too. And while I didn’t follow my parents into a life of music education, it was because I wanted to be seen.”
And seen beyond being an only child “with a large imagination,” practicing her favorite songs in her bedroom mirror, as well as singing in church and high school before set her sights on New York for more training and bigger productions. There, she landed roles in ‘Hello, Dolly!’, ‘Sister Act’, ‘The Pirates of Penzance’, and touring summer stock productions.
“I was always off dancing and singing while my folks worked with the bands,” she recalls. “And I was constantly making up my own stories, too.”
The big story of ‘Come From Away’ suits Litzenberg — a mezzo soprano with a rich, powerful belt — bringing its lush musicality and deeply resonant lyrics to life.
“I love a challenge in song, composers such as Sondheim and Jason Robert Brown. It’s fun to be able to park and bark and sing your face off, but, there’s just something to a great acting piece through song, and finding that acting through the lyrics. That really resonates with me.”
The challenge of ‘Come From Away’ stems, in part, from its small cast, telling the multitude of stories and the richness of emotion that came from that real life 9/11 setting, here portrayed in intricate harmony.
“For this show, we were taught to use less vibrato, more straight tone singing and attention to detail and dynamics,” says Litzenberg. “A lot of the singing in ‘Come From Away’ can be underscore to when characters are speaking, so you’re making sure to bring out the words and music in a way that those telling the story can be heard loud and clear. And, of course, you want to bring the “Newfoundland sound” into the theater, something specific to Gander.”
As for the story of strangers becoming friends — or, as Litzenberg puts it, “ordinary people doing extraordinary things” — the actor and singer has met those involved in the real life events to better learn what everyone went through at that time.
“I do not take lightly my relationship to the two women that I play in this production… It is still one of the most special things to happen in their lives — many of them continue to travel today to various ‘Come From Away’ touring productions around the country,” says Litzenberg. “That is such a testament to that town and that story, and all of this is really special.”
‘Come From Away’ is on stage at the Academy of Music from Feb. 4 to 9. For information and tickets, visit ensembleartsphilly.org
