Come from Away

History and productions

The idea for the show was first conceived by Michael Rubinoff, a Toronto lawyer and theatre producer and associate dean of visual and performing arts at Sheridan College. After approaching various Canadian writing teams about the project, Rubinoff attracted Irene Sankoff and David Hein, whose work he knew from their 2009 musical, My Mother's Lesbian Jewish Wiccan Wedding, which was a hit at the Toronto Fringe Festival and later picked up by Mirvish Productions.

In 2011, Sankoff and Hein visited Gander on the tenth anniversary of the attacks to interview locals and returning passengers. The couple translated some stories directly to the musical while others were merged for story purposes. Rubinoff used their initial script to produce a 45-minute workshop version for the Canadian Music Theatre Project, part of the Sheridan College Music Theatre Performance Program, in 2012. The workshop was sufficiently successful that Rubinoff invited Sankoff and Hein to finish writing it for a full production at Sheridan in 2013, as part of the college's regular theatrical season. The full production, directed by Brian Hill, was an artistic success, but Rubinoff was unable to attract a Canadian producer for further development.

In the meantime, Goodspeed Musicals, East Haddam, Connecticut included the show in their workshop program. The National Alliance for Musical Theatre in New York selected it as a showcase presentation in fall 2013, where a performance, also directed by Brian Hill, led to the show being optioned by Junkyard Dog Productions, the production company behind Memphis and First Date.

The professional production was a collaboration by the La Jolla Playhouse and Seattle Repertory Theatre in 2015. The play had extended runs in each location. The musical opened at the La Jolla Playhouse in June 2015, directed by Christopher Ashley and featuring Joel Hatch as the Mayor of Gander, Jenn Colella as Beverley, a pilot, and Chad Kimball as Kevin. In Seattle, it broke all box office records (including highest grossing show and largest single ticket sales day) at Seattle Repertory Theatre.

Following its runs in San Diego and Seattle, the show played out-of-town engagements at Ford's Theatre in Washington, DC from September 2, 2016 to October 9, 2016 and then at the Royal Alexandra Theatre in Toronto, Canada from November 15, 2016 to January 8, 2017. The entire run of the Toronto production sold out during its second week of performances. The show's ticket sales set a record for the then 109-year-old Royal Alexandra Theatre, selling $1.7 million in tickets in a single week. The show could not be extended due to its Broadway commitment but, as a result of the strong demand, Mirvish Productions announced on December 2, 2016 that they were adding an additional 4 box seats and 12 standing-room locations for the duration of the show. An additional show was also added on the evening of December 18, 2016.

The musical premiered on Broadway on February 18, 2017 (previews) and officially opens on March 12, 2017 at the Gerald Schoenfeld Theatre. Direction is by Christopher Ashley, choreography by Kelly Devine, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, and music direction by Ian Eisendrath.

Characters and original cast

The ensemble of twelve actors all remain on stage for most of the performance and portray hundreds of characters, with each performer switching between characters as needed, often mid-song.

Synopsis

On the morning of September 11, 2001, the townsfolk of Gander, Canada (including Claude the mayor, Oz the police constable, Beulah the teacher, Bonnie the SPCA worker and others) describe life in Newfoundland and how they learn of the terrorist attacks on New York City and Washington, DC ("Welcome to the Rock").

The attacks result in US airspace being closed, forcing 38 international aircraft to be diverted and land unexpectedly at the Gander airport, doubling the population of the small Newfoundland town that is unequipped for the influx of stranded travelers ("38 Planes"). The pilots, flight attendants and passengers are initially not permitted to leave the planes, forcing them to deal with confusing and conflicting information about what has happened and why they were suddenly grounded ("28 Hours / Wherever We Are"). Meanwhile, the Gander townspeople spring to action and prepare to house, feed, clothe and comfort the nearly 7,000 passengers (along with 19 animals in cargo) ("Blankets and Bedding").

Once allowed off the planes and transferred to various emergency shelters in and around Gander ("Darkness and Trees"), the passengers and crew watch the news and learn why they were grounded ("Lead Us Out of the Night"). The townsfolk help them in any and every way they can, although the frightened passengers' main concerns are contacting their families and praying for their loved ones ("Phoning Home / Costume Party / I Am Here / Prayer").

To alleviate rising tensions ("On The Edge"), the passengers are invited to be initiated as honorary Newfoundlanders at the local bar ("Heave Away / Screech In"). The strangers begin to bond with the quirky townsfolk and each other. The "islanders" in Gander and the surrounding towns open up their homes to the "plane people", regardless of their guests' race, nationality or sexual orientation.

The gravity of the attacks continues to set in as US airspace is eventually reopened. One pilot comments on how her once optimistic view of the world has suddenly changed ("Me and the Sky"), while the mother of a firefighter learns that her son lost his life during the rescue efforts in New York City. One pair of passengers starts to develop a romance ("Stop the World"), while another pair sees their long-term relationship fall apart under the stress of the event.

The remaining passengers and crew fly away to their homes, but not before a Muslim traveler, faced with increasing prejudice from his fellow passengers, undergoes a humiliating strip search prior to boarding. Although the world has changed, the accidental tourists nevertheless remember the immense kindness, generosity and hospitality that was shown to them by complete strangers in their time of need ("Somewhere in the Middle of Nowhere") while the townsfolk, missing their guests, comment on how empty their town now seems and how different the world now feels ("Something's Missing").

Ten years later, the crew and passengers (the "come from aways") of the once stranded planes reunite in Gander, this time by choice, to celebrate the bonds and unlikely friendships they formed despite the terrorist attacks ("Finale"). As Claude the mayor professes, "Tonight we honor what was lost, but we also commemorate what we found."

Musical numbers

The music contains "rock, folk and Gaelic-sounding strains, performed by an onstage band."

Seattle

Jay Irwin with Broadway World called the production "emotionally transcendent" and "the best musical I've seen all year and possibly ever."

Washington, DC

David Gerson with DC Metro Theatre Arts called the show "one of the most refreshing pieces of art that I have seen in years. The folk and country influenced pop score is tuneful and the cast sings the hell out of it." Peter Marks, in his review in The Washington Post, noted that the musical "stirs powerful memories of 9/11...if the book's mechanics unfold with too much sugar, the score has an infectious, gritty vitality: Especially good is a number set in a Gander pub, choreographed by Kelly Devine, during which a risibly nutty local initiation rite is performed, involving the embrace of a recently caught codfish."

Toronto

Kelly Nestruck of The Globe and Mail wrote that "the heartwarming musical lives up to the hype" and that "the accessible story, strong emotional core and gorgeous songwriting should not distract from how original and smart this gem of a musical is." Robert Cushman of the National Post called the production "outstanding." Liz Braun of the Toronto Sun gave the show a perfect 5-star review, writing "Blame Canada: a grim day in American history has been transformed into a joyous and emotional musical about the indomitable human spirit." Alan Henry of Broadway World said "You'll laugh, you'll cry, and you'll be a better person when you leave the theatre. Don't miss 'Come From Away'."