Every night, the political news is rife with various Trump Administration scandals. The president’s malicious tweets and nasty rhetoric create a world where “fake news” and “alternative facts” proliferate.
Congress isn’t far behind. The current GOP health plan could result in an estimated 12 million people lose their health insurance.
Is there any decency left? Just look outside Washington.
A new Broadway musical, Come From Away, now at the Gerald Schoenfeld Theater, celebrates generosity of spirit and profound acts of human kindness on 9/11. The setting is Gander, Newfoundland, a town of nearly 9,000.
When U.S. airspace closed after the World Trade Center attacks, 38 planes were rerouted to Gander, given the size of its airport. (It was once the largest in North America.) And in this small hamlet, 7,000 frightened and confused “plane people” found solace.
Canadians Irene Sankoff and David Hein wrote the heartfelt book, lyrics and lovely Celtic-tinged music, after interviewing the people of Gander and many of the passengers: American, European, African, Moldovans, etc.
For those needing medication, pharmaceuticals were provided gratis. For an Orthodox Jewish family, kosher food was found. Phone banks were set up; meals and clothes were donated. Thousands slept on community center floors as they waited for permission to leave.
Twelve excellent actors skillfully switch roles — passengers and townies — in an emotional story that redeems faith in human nature. From an African American man who suddenly feels safe in an all-white town to an SPCA worker worried about the animals on board the planes, the humanity of the Gander residents is genuine.
Their quirky elements and local rituals provide moments of gentle humor, while their compassionate treatment of strangers speaks volumes.
True, the musical focuses on the more upbeat elements of the story, it is clear Gander coped with a severe situation that often stymies professionals. What’s striking is that they handled it with grace, friendship and competence.
Come From Away is one of the three original musicals currently on Broadway, with a twist: It’s a bit like watching a documentary transformed into a musical. The score beautifully expresses the enormity of the situation. Director Christopher Ashley’s pacing is just right. He gets the most from his talented ensemble, who remind us that in our darkest hours, there are those who bring light.
On the family front, the New Victory Theater is offering the drama Aging Magician. Harold, a clockmaker, is writing a story about a dying magician trying to give away his Book of Secrets before it’s too late. Both Harold and his protagonist are running out of time, which gives the show a darker hue.
Composer Paola Prestini’s opera has many artistic moments, aided by the Brooklyn Youth Chorus, a cool addition for the young audience. There are a lot of smart, beautiful elements in the show, geared to kids 9+, including its multimedia efforts. Set designer Julian Crouch uses paper effectively; it is made into birds, snakes or puppets. And his projections are clever.
But the slow pacing of the story is a problem, as is the absence of a smooth narrative. Magical reality is appealing, but timing is everything.