David Wynen Shares His Directorial Approach Ahead of Opening Night
There’s a special kind of magic that happens when a cast of diverse talent comes together to stage a musical celebrating unity, humanity, and hope—especially one as globally renowned as COME FROM AWAY. This March, The Empire welcomes 21 remarkable local performers, each bringing a distinct background and musical flair to the Tony and Olivier Award-winning production. From a seasoned musical theatre star and a real-life Newfoundland expat to a country music artist and an operatic baritone, this ensemble captures the heart of the show’s compelling story about strangers who became neighbours after the events of 9/11.
At the helm is David Wynen, an Australian director and choreographer based in New York, who led an extensive audition process to find the perfect mix of voices and personalities for COME FROM AWAY’S Toowoomba outing. Wynen offers an insider’s perspective on assembling such a dynamic cast, his vision for honouring the musical’s spirit of compassion, and the unique challenges of bringing this uplifting true story to life on stage.
When you first encountered the story of COME FROM AWAY, what aspects of its themes or narrative most resonated with you personally, and how have these connections shaped your approach to directing?
Come From Away resonates deeply with me because it is inspired by real people sharing their genuine stories. As an original musical, it stands apart from the typical rehashing of movies. The heartfelt narratives of love, loss, and humour inspire and uplift me.
This musical is deeply rooted in real events and real people. How do you balance honouring the historical truths and emotional weight of 9/11 with creating a compelling theatrical experience that still entertains?
The writers have skilfully crafted a narrative that strikes a careful balance between truth and fiction. This thoughtful approach creates a story that resonates deeply with the audience. It’s important to note that the storytelling must be careful, especially for viewers under 30, who may not have this history in their conscious memory.
COME FROM AWAY hinges on themes of hospitality and empathy in a moment of crisis. How do you guide the cast to bring these human values to life on stage in an authentic way—especially for those who may not have personally experienced those?
Humanity and decency are fundamental values that I believe the actors truly grasp. In times of crisis, such as during the Toowoomba floods in 2011, we saw how communities can come together to support one another. Residents and local organizations rallied to assist those affected, demonstrating their willingness to lend a helping hand and provide comfort during a challenging time. I am confident that if faced with similar circumstances again, they would respond in the same compassionate manner. Such acts of kindness remind us of the strength of community and the inherent goodness we can find in one another.
With an ensemble drawn from diverse performance backgrounds—musical theatre, opera, country music, and more—what unique strengths do these varied skill sets bring to the production, and how do you unify them into a cohesive whole?
The heart of this show lies in its exceptional storytelling. Each note played, every movement made, and all the words spoken contribute to a rich narrative that captivates the audience. The diverse array of performers, each bringing their unique backgrounds and talents, shares a fundamental quality: a deep sense of humanity and decency. This connection among the artists is evident in their performances, as they convey emotions and experiences that resonate with viewers, creating a powerful and engaging experience that celebrates the essence of what it means to be human.
Your own background spans both Australia and New York. In what ways has your international perspective influenced your interpretation of a show so deeply tied to Canadian and American experiences?
I’ve noticed a remarkable sense of tenacity and resilience in my community in New York. People are constantly working to rebuild their lives and find hope even in the face of adversity. This spirit is something I also associate with Australians. There have been moments when I’ve felt truly alone on the other side of the world during tough times, and it’s in those moments that the beauty of human connection truly shines. Even in a bustling city like New York, simple acts of kindness can really lift your spirits. It’s a reminder that we all need to keep reaching out and connecting with one another, and this is reflected in COME FROM AWAY.
Directing a Tony and Olivier Award-winning show can be a daunting task. What has been your biggest challenge in adapting such a renowned piece to a local stage, and how have you navigated or overcome it?
The show was meticulously crafted over many years, showcasing almost flawless construction. With its original design dating back to 2013, we have honored the essence of the show while embracing innovation. Our completely original set, larger cast, and unique choreography breathe new life into the experience, enhanced further by the addition of vibrant multimedia elements.
Rehearsals often involve discovering unexpected layers in the material. Have there been any surprising insights or emotional moments that emerged during the rehearsal process which altered or deepened your vision for the show?
We understand the importance of open communication during rehearsals, and we’ve made it a priority to foster a supportive environment for our cast. We genuinely care about everyone’s well-being, and to that end, we offer counselling through the theatre’s Employee Assistance Program whenever it’s needed.
‘Community’ is a central theme in COME FROM AWAY- Outside of the rehearsal room, how have you fostered a sense of community among your cast and crew, and how does that sense of togetherness translate to the stage?
We have all shared stories of community and survival that inspire us. At the end of the week, we gather together openly, connecting as individuals to reflect on the week’s rehearsals and celebrate our journey.
Newfoundland has a distinctive culture and dialect. What steps have you taken to ensure cultural accuracy—accents, mannerisms, musical stylings—while still maintaining an accessible show for local audiences?
Our Musical Director, Owen Clarke, brings a global vision to music through his extensive research. Our dialect coach, the esteemed educator and actor Kate Foy, empowers the cast to master their accents. We are also incredibly fortunate to have a secret weapon in our midst: Karen Rock, an actor originally from Newfoundland who now inspires us all with her presence here.
In your view, what do you hope audiences carry with them after watching COME FROM AWAY? Is there a central message or emotional takeaway you believe is most relevant in today’s world?
Individuals are inherently human, and the differences that create barriers among us can also serve as bridges that connect us.
