Broadway Breakdown: "Come From Away" w/ Lauren Nicole Chapman

Host: Matt Koplik
Guest: Lauren Nicole Chapman (Broadway performer, formerly “Disney Princess”)
Date: February 6, 2025

Episode Overview

In this energetic and candid episode, host Matt Koplik and guest Lauren Nicole Chapman dive deep into the Broadway sensation Come From Away. They unpack the show’s creative process, unique musical and structural choices, and emotional impact—while swapping personal stories and opinions with characteristic humor and frankness. The episode is filled with anecdotes from the production, Broadway industry insights, and lively banter that balances irreverence and genuine admiration for the material.

Key Topics & Insights

1. Show Logistics and Fun Facts

[00:00 – 10:45]

• Show Length & Pacing:

  • Come From Away is exactly 100 minutes (often mistaken for 90), achieved through precise musical timing—no click track but dialogue is synced to movement and music.

    "All of the dialogue in Come From Away is timed to the music, so... everything moves at a very specific pace the entire time." – Matt (00:00)

• Applause Breaks:

  • Only three official applause breaks by design: after “Welcome to the Rock”, after the “Screech-In” sequence, and at the finale.

• Set Design Easter Eggs:

  • Designer Beowulf Boritt always hides an elephant trinket in his sets; in Come From Away, it's in a high tree branch.

• Twin Towers Tribute:

  • Two frail, shortened birch trees on upstage left are a subtle homage to the fallen World Trade Center towers.

• Authenticity in Performance:

  • Director Christopher Ashley instructed cast to avoid “playing” for sentiment; the power comes from underplaying and constantly “getting the job done.”

2. Origin & Development of “Come From Away”

[12:33 – 24:50]

• Writer-Composer Team:

  • Husband and wife David Hein and Irene Sankoff, who attended the 10-year reunion of “Plane People” and Newfoundlanders, found their musical inspiration in the region’s real-life camaraderie and community singalongs.

• Workshop Process:

  • Extensively workshopped at Goodspeed and NAMT, initially conceived as narration-heavy to capture the voices and vignettes of a huge, real ensemble.

• Narrative Structure:

  • The show’s narration is compared to The Laramie Project: multiple actors play diverse characters, often shifting roles with minimal costume changes.

    “They started with like a 30, 40 minute workshop in Canada that then expanded... They tried to cover everyone, everyone they spoke to, and they were having trouble figuring out their way into it... It led to the whole ‘Laramie project’ idea.” – Matt (22:01)

3. Personal Connections & First Impressions

[14:57 – 29:41]

• Lauren’s Introduction:

  • Saw the show as a second date (not with her future husband), before its Tonys sweep. Remembers being unexpectedly emotionally moved:

    “I knew in that moment, too, that it wasn’t going to happen, but I would go on a third date because he invested so much in the second date.” – Lauren (27:35)

• Matt’s Background:

  • Saw it in the final previews with his step-grandmother (a Tony nominator). Both were skeptical due to the “9/11 musical” label but found themselves deeply affected.

4. Critical Reception, Tonys & Broadway Context

[32:25 – 36:43; 99:49 – 106:32]

• Critical Reception:

  • Despite skepticism about its subject, critics praised the show’s humor, emotional precision, and effectiveness.

• 2017 Tony Awards:

  • Contended with Dear Evan Hansen, Great Comet, and Groundhog Day in a celebrated season. Come From Away only took home Best Director (Christopher Ashley).

  • Discussion about whether it should have won more, with both guest and host preferring it over Dear Evan Hansen as Best Musical.

    “I think Come From Away for me was ultimately the more exciting and fulfilling theatrical experience... which is why I ultimately give it Best Musical.” – Matt (103:01)

• Industry/Fandom Pendulum:

  • The Broadway “pendulum swings” phenomenon—how divided fandoms reevaluate past winners and sometimes root for the underdog in retrospect.

5. Design, Direction, and Stagecraft

[80:04 – 88:28]

• Importance of Direction:

  • Discussion on what makes for great musical direction: not just inventive staging, but unifying tone and performance.

    “Everyone’s on the same page, everyone’s in, you know, working towards the same goal.” – Lauren (80:38)

• Minimalism & Stage Movement:

  • Heavily minimal set, with actors managing scene transitions—especially the “Bonnie” track (most chair/furniture shifts due to original actress’s team-player attitude).

• Future Directors:

  • Both Matt and Lauren pitch female directors (Jessica Stone, Sarah Ogleby, Joanne Hunter) as ideal for future stagings, appreciating the show’s female-driven energy.

6. Themes, Emotional Impact, and Representation

[41:06 – 73:58]

• “Toxic Positivity?”

  • Addressing criticisms about the show’s light treatment of post-9/11 Islamophobia:

    “Toxic positivity is ignoring trauma... I don’t think that Come From Away is that... There’s more good in this story than bad. And we would be dishonest if we didn’t acknowledge any of the bad.” – Matt (78:26)

• Emotional Resonance:

  • Both panelists agree that the show’s power lies in depicting people “showing up” for others.

    “For me, what always makes me cry is when people show up for people. When people just, like, are good. Yeah.” – Matt (68:45) “I think the through line... is, like, yeah. Chef’s kiss.” – Lauren (82:56)

• Diversity & Casting:

  • Praise for the diversity—not just racially, but in age, body type, and “regular people” presence onstage.

    “With Come From Away, it’s not about abs, it’s not about... height or waist size. It is purely about personality.” – Matt (96:13)

7. Memorable Characters & Song Highlights

[46:02 – 87:34]

• Favorite Tracks & Roles:
  • Lauren identifies with “Bonnie” (animal rescuer); Matt pegs her as a “Janice in the streets, Bonnie in the sheets.”
  • Jen Colella’s dual roles (Beverly Bass, pilot, and Annette, comedic local) get special praise.
  • Songs like “Welcome to the Rock,” “Me and the Sky,” and “Somewhere in the Middle of Nowhere” celebrated for energy, emotional build, and group vocals.
  • Both balk at the idea of casting children onstage for practical and artistic reasons.

Notable Quotes & Moments

• On Direction and Cohesion:

  “A good director is somebody who can bridge the gap... not every piece is going to be perfect... you’re able to sort of move through, and it makes sense and, like, Come From Away is a really good example of that because... the theming is, like, chef’s kiss.” – Lauren (82:24)

• On Emotional Impact:

  “I bawled from start to finish, I was just like, I love musicals.” – Matt (39:49)
  “I was locked in. Yeah, like, minute five.” – Lauren (43:42)

• On Broadway’s Changing Values:

  “Broadway has had a very difficult time understanding what diversity means... there’s also gender, sexuality, body size, age, agility... with Come From Away, it is... you’re seeing all walks of life on stage.” – Matt (95:16)

Timestamps of Major Segments

• 00:00 – 10:45: Matt’s introductory fun facts, production insights, and set design easter eggs
• 11:22 – 24:50: Guest intro, show background, and the developmental process
• 27:35 – 29:41: Personal anecdotes of first seeing Come From Away
• 32:25 – 36:43: Critical reception and Tonys context
• 41:06 – 46:02: Character breakdown (Bonnie, Annette, Beulah, Diane)
• 80:04 – 88:28: Discussing directing, best practices on Broadway, and hypothetical future stagings
• 99:49 – 106:32: Revisiting the Tonys, ranking 2017 nominees, and Broadway fandom
• 108:17 – 109:17: Industry realities—shows opening, closing, and making space for new stories

Conclusion

Come From Away gets a thorough, opinionated, and affectionate analysis from Matt and Lauren, who honor its craft, technical achievement, emotional generosity, and continued impact. They acknowledge both critical praise and criticisms—especially regarding representation and narrative focus—while celebrating the show’s unique place in recent musical theater history. Their lively dynamic, industry knowledge, and candid humor make this episode a rich listen for Broadway fans, theater newcomers, and anyone curious about why Come From Away resonates so deeply.

Closing Diva:

By Lauren’s request, the episode closes with a Jen (“Daddy”) Colella performance [“Me and the Sky” or other signature track].

Listen for:

• Behind-the-scenes process stories
• Lively, comedic rapport between host and guest
• Tangents that reveal Broadway’s evolving culture and values
• Honest discussion of why some musicals transcend their flaws

For more episodes and Broadway breakdowns, visit bwaybreakdown.substack.com