About two weeks ago, I got to go the Big Apple. To the Great White Way.

Now I consider myself a tourist when I go to New York City, but at the same time I don't. I actually lived in the city for three months, at a mere 20 years old. I attended (and worked) at the Stella Adler Conservatory the summer after my sophomore year. Boy was that an eye opener. Not only did I learn so much about my craft, but I learned so much about myself. Everyday, I got on the A-Train and trekked from 178th and Broadway to 27th and 6th. I had a gym membership. I went to a hot yoga studio. I walked the whole length of Central Park. I learned to avoid Times Square at all costs, and found a place that has better cheesecake than Juniors. However, I know that to any New Yorker, three months in the summer is nothing. Therefore, I am a tourist. I'm just the tourist who tells all the other tourists where to walk to ;)

Anyway, I love going to NYC. It is such a thrill just to be "back in the bustle", to walk "that walk", and to see the shows of course!

AND BOY DID WE SEE SHOWS!

Let me just rattle them off: Hmmmm there was a thing called Hamilton, a play called Present Laughter, a small show called Dear Evan Hansen, and something called Come From Away.

I'm going to keep this short, no big reviews (ask me for more if you want), but I will do a recap.

FINALLY. It's only been out for two years basically. But don't worry folks - this one will be here for a while. I did not see any of the original cast, except for Brian d'arcy James who did King George at the Public (what a treat that was). But all I can say is wow. I need to see it about two - three more times to understand everything. All I can say was afterward I had sensory overload. Music, lyrics, choreography, orchestration, THE SET, direction style, lighting, THE COSTUMES... Everything was on fire and meticulously put together to create a show that will appeal to everyone. I'm so happy I got to see this. I would like to see it again in about a year and half. When I don't have the OBC's voices in my head. But fo' realz folks: This. Is. Art.

I love seeing plays. And I don't do it enough. And I get it, musicals really are more compelling because they have music which is a universal language. However, plays have an advantage that musicals don't: time. It's wonderful to see relationships not develop in the first half hour so that Act I can end in a climax. Kevin Kline was just brilliant (he did win the Tony), and it was wonderful to see Cobie Smulders in a new medium. While Neil Coward does get a tad lengthy to me in terms of language, I was mystified by the set, the costumes, and the articulation of choices by all the actors. Just brava. Go see a play people.

It's the rage. It won Best Musical at the Tonys (as was predicted). And don't get me wrong. This again is a beautiful piece of real life stuff, of anxieties that infect so many of us today. And to be honest, I haven't stopped listening to the soundtrack since. It's a story in and of itself. Plus BEN PLATT. Now I didn't see him perform (the Tonys were the next day), but all I've heard is, to quote my sister, "the best spit-acting I've ever seen". The end. I will say one thing that is based on a conversation that my sister and I had. This musical speaks to millions in so many ways. However, I will say that I don't feel that I was as affected as most. Why? Because of my faith. I have validation and love from above. Even if the world were to fall apart, I know that the Lord loves me and will never forsake me. There are those that don't necessarily have that assurance.

The one place I did break down was Act One's Finale "You Will Be Found". It of course is the song that has it's own hashtag and is the culmination of the shows message (that's a topic in and of itself). But it's in that song when the Dad, played by handsome Michale Park, finally succumbs to his grief. It's a beautiful heartbreaking moment of just pure grief. Throughout all of Act One I was waiting for that moment (because of how the character is written I knew it would happen). Many would probably focus on the moment after when the mother runs and reconciles with Park, but I will never forget his slow fall to the ground, the weight of his son's death pulling him to beneath. It was pain that I know I will feel at some point when I have children. Because that's how much our parents love us. And that's how much they care.

I may not categorize this show as Broadway ground breaking (again that's a Next To Normal, Fun Home etc. conversation), but I would recommend it. If anything, go see how playwrights affect the world today, and how they clearly vocalize society.

If you ask anyone, I've been talking about this musical for two years. I saw it premiere at La Jolla in Summer 2015 when I was interning there. Pure magic. And I was thrilled to see it untouched on the Great White Way.

It tells a story that it known worldwide from a different perspective. It uses an ensemble. Not actors. An ensemble. Where if one person isn't on their game, the whole thing collapses. And boy, are they talented. So many accents, details in posture, small props, overlapping music, and more. Plus the ensemble isn't the ensemble you see in Hamilton. They look like normal people, people who aren't in the best shape of their life, or who haven't just graduated high school. They look like my mom, or grandma, or best friend. And that's beautiful because you don't always see that on Broadway right now, where the big thing is how many turns can you fit into an 8 bar of belt.

This musical tells a story. A real story. One that happened 16 years ago. While I was alive. Something I'll never forget, but that I was still a little too young to fully experience. I bawled multiple times through this musical because it feasts on hope, on togetherness, and on an experience that was so terrible for most. It's a full 120 minutes of catharsis - a spectrum of emotions. So much laughter, so much pain, so much beauty.

Now, I fully understand that this is my opinion. In fact my husband said "I really liked Come From Away, but I think I liked Dear Evan Hansen more". Fair opinion. I think most people would tend to agree with you. I would counter that opinion by a) the structure of the two shows: One focuses on a main character, the other on hundreds of people stories; b) One is fictitious to display the troubles of today, the other is truth; c) One thrives and flourishes because it appeals to audience's most deep parts, the other thrives and flourishes on memories, and on the empathy of the audience; and d) One's purpose is to reach to the individual, the other's purpose is to reach to the community.

Again, I fully agree both DEH and CFA are real works of art and to compare the two is honestly just plain stupid. But while most folks are raving over the importance of DEH and how it has inspired millions, I do hope that people recognize and appreciate the importance of CFA. It stimulates a conversation that most aren't willing to start. It ignites thoughts and memories that most refuse to visit : those hours, minutes, and days after the world fell apart. And it does so in a way without grief, without much pain, but with clear thought and a hopeful perspective.

If you have a chance. Go see this stuff. Go see anything on Broadway. Go see your regional play, or even your community theatre. Not only are there people who want to serve you by sharing their skillsets; but there are playwrights, orchestrators, choreographers, set builders, and more who created these shows because they are important. They all say something. And usually, it's real good stuff.

"You Will Be Found" because "We All Come From Away"