Islands seem to affect residents in the community they create, from the complex power of “The Tempest” to the found family in “Come From Away.” But in Abe Koogler’s “Deep Blue Sound,” it isn’t humanity that is first presented as the problem to the audience — it is the whales. The whales have gone missing.

With such a premise being handed to you as soon as you take your seat at the School of Dramatic Arts’ latest production, one might expect to walk away from the show with an interesting story of a hunt for the missing whales. Ultimately, it is humanity that takes viewers’ attention.

When Mayor Annie (Casey Landman) directly addresses the audience at the show’s beginning, audience members filling up Sanctuary Theatre find themselves in a purely expositional setting: Viewers are talked to by the entirely MFA third-year cast. In this ensemble, the show finds its power, with every cast member working to carry the weight of the show and each doing so in their cumulative performance at USC.

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After this fluid dialogue of direct address from the cast ends, the individual relationships start to form: the dissolving marriage between Chris (Quaz Degraft) and Mary (Briana James); the complicated friendship between Ella (Sonia Aliya Goswami), John (Diego Casasnovas-Torres) and Mary; and the newfound connection between Ella and Joy Mead (Michelle Jones Lee), among others.

This human connection holds together a complex story in its nature but so simple in reality. There is a still feeling of a simple town, nothing extraordinary — in many ways a modern Grover’s Corners from “Our Town.”

The entire cast shines in their final show as a cohort, each contributing some unique and special aspect to the show — from Lee’s deep portrayal of connection driven by a depth-filled past to Vincent R. Williams’ unique and standout role as Gary, where he is able to hold so much power by his separation from all the other islanders. 

Degraft balances a role driven by emotion, change and strong attempts to break generational cycles, all while Matthew Abatti as Ali embodies multiple characters seamlessly. Abatti’s main role brings up questions of responsibility and parental relationship. 

Casasnovas-Torres highlights the importance of blooming friendship regardless of circumstance. At the same time on that same island, Rama Orleans-Lindsay as Leslie searches all over for that friendship and an escape from isolation. Goswami presents the audience with larger questions of the importance of life and how to deal with the ever-losing seconds of it.

Standout performances especially come from Landman and James. Landman is a perfect bookend to the show as an overzealous, honorary mayor hoping to tie the community together in search of something larger — whales or otherwise. Meanwhile, James does an excellent job balancing friendship, relationship and self in one ever-fluid character so special to her individual performance. 

Technically, the show maintains a simple atmosphere with a well-crafted set by Elisha Park, Yifan Cheng and Takeshi Kata — which is elevated even further through Yuki Izumihara’s projection design. Everything remains simple, as it should be, making further elaboration difficult. 

While much of the show excels in its simplicity, some points of weakness ultimately lead to a somehow powerful yet confusing ending. Viewers will be moved, all while not quite knowing what exactly is moving them. The dialogue is choppy and realistic throughout the play, sometimes to a fault. At extremes, it is difficult to understand what is being said when people are cut off.

Although entering the show expecting whales, that will be the last thing audiences will leave with. The whales are far less significant to everything else that triumphs for the duration of the show. It is the true human connection that shines through and makes “Deep Blue Sound” so special to conclude these students’ time at USC.