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Mainstream musicals rely on popular appeal. Even when the content is serious or tragic, the affective experience generated is generally pleasant. Almost by default, they are happy objects – veritable happiness-circulating machines capable of adhering their own pleasant affects to other objects, whether physical (e.g. things, bodies) or conceptual (e.g. values, ideals, myths). In this article, I explore Come from Away as a happiness-making machine capable of adhering its own happy affects to a homegrown mythos that imagines Canada (not unproblematically) as a welcoming utopia of tolerance and togetherness.