The Cast Photo by Evan Zimmerman for MurphyMade

Come From Away takes place in the small town of Gander, in the Canadian province of Newfoundland. The show chronicles the events of September 11, 2001, and the subsequent five days when thirty-eight planes carrying just under 7,000 passengers were forced to land following the terrorist attacks in the United States. The story of how a community of only 9,000 residents fed, cared for, and welcomed strangers is an interesting one, especially as seen from both the perspective of the townsfolk and those from the planes.

The show is the creation of Canadians Irene Sankoff and David Hein, who share credits for book, lyrics and music. The pair interviewed locals and returning passengers during the 10-year reunion in Gander and crafted the book around their accounts. Come From Away uses copious narration played directly to the audience, but it doesn't feel like the easy way out, as is often the case with shows that are heavy on exposition. While a story about events surrounding 9/11 is sure to evoke many emotions, some of them sad, Come From Away emphasizes the power of hospitality and the goodness within people. The story is heartwarming and uplifting, and it contains a surprisingly generous amount of humor.

The songs are very accessible yet different from most Broadway scores, with influences of folk, country, pop, and traditional musical theatre, but also incorporating the regional styles of the setting. From the pulsating "Welcome to the Rock" that opens the show, "I Am Here," a mother's desperate plea to learn the fate of her New York City firefighter son, or the raucous "In the Bar/Heave Away" montage where the passengers are made official members of the community, the sound is refreshing and unique in both words and music. The standout number is "Me and the Sky," conveying the perspective of one of the pilots on both her career and the use of planes she loves to execute the attacks. The integration of dialogue and song which takes place throughout the show is noteworthy as well.

Even though the show features the stories of many, many people, it is all told with just a cast of twelve, with each actor portraying multiple characters. The seamless manner in which the actors change from one character to another, often with only the addition or deletion of a hat or jacket (or in some cases, no clothing change at all), is astounding and theatrical magic at its simplest and best. Each of the versatile actors in this non-Equity cast plays at least one resident of Gander as well as one of the "plane people," and often a few of each. Kaitlyn Jackson is vocally impressive as pilot Beverley/Annette, the showiest track in the musical. John Anker Bow (Nick/Doug) and Tyler Olshansky-Bailon (Diane) get plenty of laughs as the couple who fall in love during the grounding, and they both provide well-rounded portrayals. Andre Williams (Bob) interprets his many roles with great skill. Hannah-Kathryn Wall is emotionally impactful as Hannah and shows off a lovely singing voice. Everyone else is likewise deserving of praise: Kathleen Cameron (Bonnie), Erich Schroeder (Oz), Jordan Hayakawa (Janice), Andrew Hendrick (Claude), Richard Chaz Gomez (Kevin T/Garth), Ryaan Farhadi (Kevin J/Ali), and Kristin Litzenberg (Beulah).

As wonderful as those performers are, the true stars of this show are director Christopher Ashley and musical stager Kelly Devine. The fluidity of the staging, with actors transforming from one person to another in the blink of an eye, is magnificent. With little variation in set or costume, the story and characters are clearly established and communicated by the stage movement, a fine example of non-dance choreography. Ashley uses a row of chairs in almost constant motion to define the setting and assist with scene transitions. The work here produces an extremely cohesive theatrical masterpiece, and their work is brilliant. The eight-piece onstage band is led by Sarah Pool Wilhelm, and does an excellent job throughout–be sure to stick around after the actors exit the stage for a brief but vibrant closing number by the band centerstage.

Beowulf Boritt's attractive yet minimalistic set design consists of two groups of trees, a dozen chairs, and a few tables. The lighting by Howell Binkley is up to his normal high standards, and the every-day costumes by Toni-Leslie James capture the characters well while also allowing for quick transitions.

Come From Away has quickly become a fan favorite since its Broadway premiere in 2017, and it deserves the praise it receives. Though the musical centers around events we all wish wouldn't have taken place, it tells of the decency and humanity of people during crisis, and speaks to the hope and love of which we are all capable. The strong touring cast executes the commendable score, intriguing story, and top-notch direction skillfully.

Come From Away runs through March 23, 2025, at the Aronoff Center, 650 Walnut St., Cincinnati OH. For tickets and information, please call 513-621-2787 or visit cincinnati.broadway.com. For information on tour, visit https://comefromaway.com.