Come From Away

Sharon Wheatley, Astrid Van Wieren, Chad Kimball, Geno Carr, Caesar Samayoa, Kendra Kassebaum, Petrina Bromley, Q. Smith, Lee MacDougal, Jenn Colella, and Rodney Hicks.

Jenn Colella, Joel Hatch and company.

Rodney Hicks

Lee MacDougal and Petrina Bromley

Chad Kimball and company.

Joel Hatch and company.

Company

“They inhabit a set (designed by Beowulf Boritt) populated by tall trees, simple wooden furniture and a folksy onstage band.”~Ben Brantley, New York Times

“Beowulf Boritt’s woodsy turntable set and Howell Binkley’s lighting frame the actors simply and effectively.”~Peter Marks, Washington Post

“With a handsome woodsy set by Beowulf Boritt.”~Jesse Green, New York Magazine

“Set designer Beowulf Boritt goes with a romantic take on an island of big trees.”~Chris Jones, Chicago Tribune

"The director, Christopher Ashley, and the set designer, Beowulf Boritt, create an adaptable, evocative environment that enables the story to keep moving forwards. A singsong in a bar, say, turns into the cramped confines of an aeroplane cabin with just the deft moving of some chairs." ~Dominic Maxwell, Times of London

"Beowulf Boritt's planked-wood design typifies the rough-hewn, rustic spirit of a show about ordinary people discovering themselves amidst extraordinary circumstances." ~Matt Wolf, Arts Desk London

“Beowulf Boritt's simple set is made up of huge looming trees, with scattered tables, and chairs, and Howell Brinkley's lighting conveying wide open skies.”~Tim Teeman, Daily Beast

“Beowulf Boritt’s set is bare in the best way possible, with one turntable and trees surrounding the outer corners of the stage.”~Clare Lockhart, Entertainment Monthly

"These and all other episodes are enacted on a single set, where Beowulf Boritt’s striking design and Howell Binkley’s lush lighting transport us from airport to plane and other locations around the island." ~ Alyssa Dyksterhouse , Seattle Weekly News

"If Beowulf Boritt’s amazing set for “Come from Away” doesn’t wow playgoers upon entering La Jolla Playhouse’s Potiker Theatre, then the opening musical number surely will." ~Diana Saenger, La Jolla Light

"Director Christopher Ashley ... is in his element here. His crackerjack troupe of 12 skillfully shape-shifts among natives, passengers and officials back home, shuffling set designer Beowulf Boritt’s furniture pieces into a range of evocative public and private spaces hauntingly delineated by Howell Binkley’s lighting." ~Bob Verini, Variety

"Beowulf Boritt’s set and Howell Binkley’s lighting still convey changes in scenery, from a claustrophobic plane to the deep, dark, expansive woods of Newfoundland." ~Carly Maga, Toronto Star

"Beowulf Boritt’s set is evocative and versatile; with the movement of a few chairs and a well-used in-stage turntable becoming everything from the local Tim’s to the cabin of one of the grounded planes to the Gander Legion hall." ~National Post, Canada

"Staged on a simple wooden set, designed by Beowulf Boritt, Christopher Ashley’s direction is supple and swift, making inventive use of chairs and a couple of tables to create a plane, a bar, a woodland outlook and everywhere else that the action goes." ~Jo Litson, Limelight:Australia

"On Beowulf Boritt’s rustic, tree-strewn turntable set, the actors seamlessly change personas and narrate the myriad stories of a week in anguished limbo." ~Peter Marks, Washington Post

"Beowulf Boritt’s resourcefully spare set." ~John Shand, Sydney Morning Herald

"The musical has a charming simplicity, owing much to the scenic design by Beowulf Boritt, which favors a near bare-bones humility with sprigs of trees over a floorboard stage populated with tables and chairs, moving bodies that rarely depart the stage, and a seven-piece band situated behind the woods. " ~Caroline Cao, Salon