Broadway musical

Come from Away: the true tale

As the Broadway hit comes to town, the inside story of the town that took care of 6,500 passengers stranded by the terrorist attacks of 9/11

[Editors’ note: On the morning of September 11, 2001, Kevin Tuerff, founder/CEO of Austin’s EnviroMedia marketing company, was returning from a vacation in France with his boyfriend. As their transatlantic flight approached New York City, the plane suddenly turned north. Half an hour later it landed in Newfoundland, a large Canadian island in the North Atlantic ocean. For the next 11 hours, Tuerff, his boyfriend (called Evan here), and 248 other passengers remained aboard the plane – one of 38 forced to land at the Newfoundland airport – as they learned the horrifying news of the terrorist attack on New York. As night fell, they were finally allowed to disembark. They were stranded in the small town of Gander.

What happened next would change Tuerff’s life forever — including becoming one of the subjects of the hit musical Come from Away, which opens Tuesday and continues through Sunday, March 3, at Portland’s Keller Auditorium. Portland/New York producers Corey and Jessica Brunish are among the producers of the Broadway production.

There’s another Portland connection. “Portland was introduced to this story in 2009, two years before I met the writers of the musical,” Tuerff remembers. “That’s when EnviroMedia had an office in the White Stag building and we brought our Pay it Forward 9/11 effort to the Pacific Northwest.” He visited the city often over the next few years. Now living in New York City, Tuerff is a public speaker, CEO of the marketing and public relations firm Kevin Tuerff Consulting, LLC, and author of the new book Channel of Peace: Stranded in Gander on 9/11 about his life-changing Gander experience. Here’s an excerpt from Chapter 3, Where Am I and Who Are These Nice People.]

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By KEVIN TUERFF

After finally stepping off the plane, walking down the stairway onto the tarmac, I felt a great sense of relief. It was around 9 p.m. It was dark and the air temperature felt cool, considering I was wearing shorts. I turned my camera on, capturing the airport’s Gander sign. I spoke into the microphone, “We’re free, we’re free! After I-don’t-know-how-many hours on that awful plane, we’re free. We don’t know where we’re going, but we’re going.”

I turned the camera to Evan. He said, “We’re in Gander, and all I know is they better have CNN here.”

Inside the airport, security was very serious and tight, and there were just two Canadian immigration and customs authorities available to check passports. The airport staff would work nonstop around the clock for days to deplane the 6,500 stranded passengers. We were among the first. After the immigration screening, we entered the main terminal, which was barely bigger than a high school auditorium. And that’s when the first wave of unconditional love hit us: the terminal was filled with volunteers greeting us as we registered. It was like we had walked into a party! There were dozens of volunteers present. Some were wearing their Salvation Army or Red Cross uniforms and sat at ten-foot-long tables. Their job was to make sure every stranded passenger was documented and taken care of. Most of them were older adults, perhaps looking a bit Irish, like me. There were dozens of volunteers at tables set up with food that had everything from home-baked cookies and squares to buckets of KFC fried chicken.

First National Tour of “Come from Away.” The Broadway touring company opens in Portland at Keller Auditorium on Tuesday, Feb. 26, in Portland Opera’s Broadway Across America series. Photo: Matthew Murphy/2018

The Air France flight crew had distributed all the food they had, so we weren’t hungry. Thinking we might be headed to a tent camp, Evan and I grabbed lots of food and drinks, unsure of when we might be fortunate enough to have these items again. We were told to immediately head outside to a waiting school bus that would take us to our shelter.

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A band of ghoulish outsiders

Broadway Rose raises The Addams Family from the dead in a rousing romp of a musical comedy

America has always been a fertile ground for outsiders. The consequences of not fitting might be dangerous or deadly, but our art world has long opened its arms to carry malcontents like cream at the top. Eventually what was once strange, awkward, or foreign becomes cherished. “An institution” is a phrase that’s sometimes thrown about. We also have a little place in  our hearts for the dark side, the shadowy world where a headless horseman terrorizes young New England, or a beating heart raises guilt through the floorboards.

And who, or what, is more of an outsider/insider American clan than The Addams Family, who are kicking up their musical-comedy heels in a rousing new production at Broadway Rose?

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Lisamarie Harrison as Morticia, with ensemble in Broadway Rose’s “The Addams Family.” Photo: Sam Ortega

It’s been a long and ghoulish and very American road for the Addamses from the pen of cartoonist Charles Addams to the musical-theater stage. When Addams first drew his family from an inkwell, America was in the throes of the Great Depression. A freelancer, he made his reputation with the New Yorker. Encouraged as a child by his father to keep at the pen, Addams was inspired by the Victorian homes of his New Jersey neighborhood, and drew skulls and crossbones for his high school newspaper. In one of his first jobs out of college, he doctored crime-scene photos for a publication. His professional career was made with the creation of his crazy, kooky family, cementing his paychecks and reputation for half a century.

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Gershwin in Paris: S’wonderful

The Broadway tour of "An American in Paris" creates a gorgeous spectacle of song and dance inside Keller Auditorium

“S’wonderful, it’s marvelous,” this Broadway version of An American in Paris, playing at the Keller Auditorium through Sunday.

I thought so when I saw it in New York a year ago, and I still thought so last night, when the national touring company version opened here with a cast that is not as accomplished as the one I saw on Broadway, but nevertheless gave some outstanding and absorbing performances. All the other elements that make this such a wonderful show are, happily, unchanged, except for the orchestra, which is smaller. Christopher Wheeldon’s signature choreography; Bob Crowley’s stylish multimedia sets and costumes, which put you squarely in wartime Paris; and Natasha Katz’s lighting design, giving us both a city of light and one of war-time darkness, remain the same, as does the book by Craig Lucas.

Puttin’ on the ritz: the “American in Paris” company. Photo: Matthew Murphy

These elements come felicitously together in the service of George Gershwin’s music, the jazzy orchestral “American in Paris,” composed in 1928 as an homage to the city of the Lost Generation, as well as songs with lyrics by Ira Gershwin such as “I Got Rhythm,” “S’Wonderful,” and “I’ll Build a Stairway to Paradise,” familiar to the many members of the not-so-young audience who remember the 1951 film on which the show is based.

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Broadway Rose takes flight

The off-Broadway musical "Fly by Night" glows in the company's smart and funny new production

Broadway Rose and director Isaac Lamb are bringing the fleeting magic of stardust to the stage with their new production of the 2014 musical Fly by Night.

A potent mix of youthful optimism and struggle marks this dark comedy. From the opening, Joe Theissen’s narrator (one among many parts he plays), decked out in brill-combed hair, thin tie and small-lapel suit, takes us back to the kind of dirty but creative streets of Greenwich Village in 1965. The musical has the feel, look, and smell of a dusty early Simon and Garfunkel album, if it were co-written by Rod Serling: plot twists around learning through loss, and how to channel it with some catchy riffs.

"Fly by Night": coffee, company, songs for the crowd. Photo: Craig Mitchelldyer

“Fly by Night”: coffee, company, songs for the crowd. Photo: Craig Mitchelldyer

Fly by Night is an off-Broadway musical by Kim Rosenstock, Will Connolly and Michael Mitnick, and it has the layers, heavy crafting and emotional insight that Yale mafia graduates are known for. From the first number, Circles in the Sand, the audience is hooked. You want to buy the soundtrack. It’s updated folk music that came out of the coffee shops and underground taverns in the early Bob Dylan-worshipping days: simple, syrupy, good pop with clever lyrics. John Quesenberry leads the band’s performances over two and a half hours with energy, enthusiasm, and charm. Connolly and Mitnick’s music is like a good Indie record; it’s Vampire Weekend and the Shins pared down to groovy elements. There is a seamless transition into every song and it’s amazing to watch dialogue slide into song. The “now they’re going to sing” abrupt monologues are missing, and as the cream separates, the dearness of the story rises to the top.

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The Divine Comedy of ‘Nine’

Lakewood's brash and splashy neo-Fellini stage musical ups the ante in the iconic film classic '8½'

A midlife crisis is always a good spectacle, and as a friend noted, the Italians have been having them in style since Dante. Lakewood Theatre Company is getting in the spirit with its current Nine, a Tony Award-winning musical written in 1982 by Maury Yeston and Arthur Kopit. All good stories bare repeating: Nine is based on Frederico Fellini’s 8½ , a semi-autobiographical movie about failing to make a movie, and Nine was made into a film in 2009.

Lakewood keeps outdoing itself this year, and Nine keeps the pattern going. The stage is a labyrinth of scaffolding, faded Roman columns, three projection screens, and moving sets. It’s not the peaceful and grandiose spa where the film is set; it’s a little slice of Italy. The show has a cast of 21, most of them long-legged, curvy, and well-coifed creatures whose form we appreciate and call women. There are only three men, and they play the same character, Guido Contini, star director and writer of the screen.

Matthew Hayward as Guido and Ecatarina Lynn as Carlo in "Nine." Triumph Photography

Matthew Hayward as Guido and Ecatarina Lynn as Carlo in “Nine.” Triumph Photography

Matthew Hayward is Guido, a stand-in for lead Marcello Mastroianni in the film, who in turn was the stand-in for Fellini, the star director and writer of Italian Neo-Realism. Hayward’s Contini is unearthly handsome, like Mastroianni, with the same rough edges of a man who’s seen too many women: the tousled bedhead, the striking 5 o’clock shadow that exudes testosterone and accents the angles of his finely boned chin. Hayward is well-suited, with a white starched shirt and thin tie, vestire bene for the iconic early ’60s. He’s a little slumped at times, and with 18 women on his heels, Jay-Z – who’s known for 99 problems, but not with females – would buy him a drink or two. Contini persuades his wife, Luisa (Chrissy Kelly-Pettit), to get away and take in the waters at an ancient spa. In the meantime, he’s creating a diversion to procrastinate on a script deadline and mental breakdown. Hayward delivers Contini as a scattered earnestness in his deceptions, a playboy with a believable Northern Italian accent. Hayward sings a robust and flawless The Grand Canal, a solo with a complex syncopated rhyme scheme and rhythm, that left the audience in shock.

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