The choreography in Broadway’s Tony-nominated Best Musical Come From Away isn’t full of flashy triple turns or graceful arabesques, but don’t let that fool you into thinking it’s not an intricate puzzle of storytelling through movement. In fact, Tony-nominated choreographer Kelly Devine’s movement is the motor of the 9/12 story.

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“What was important about putting movement in the story is that it doesn’t lend itself to movement, but it’s this thing you can enhance in a way that creates a deeper emotional response past words,” she says.

In fact, Playbill spoke to Devine on the production’s opening night about choreographing the show’s intricacies—from costume hand-offs to moving set pieces:

Come From Away is the type of project that inspired Devine to become a choreographer in the first place. “I started choreographing young because I was a dancer very young professionally and I saw [the tour of] Contact and I thought, ‘That’s what I want to do. I want to choreograph something through dance that's a full story.‘‘” Watch the full video above to learn more about Devine’s inspiration.

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