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Regional Reviews: Phoenix Come from Away Also see Gil's reviews of 42nd Street, A Beautiful Noise, and Chicago: Teen Edition
The story is rooted in the true events of September 11, 2001, when 38 planes were unexpectedly diverted to the small town of Gander, Newfoundland after U.S. airspace was closed. Nearly 7,000 passengers, known affectionately as the "plane people," suddenly found themselves stranded in a community that was unprepared for their arrival but determined to help. As the planes sit on the tarmac and confusion reigns, the residents of Gander open their homes, hearts, and resources to those who cannot get home. The musical follows multiple interwoven stories, from budding friendships and romances to moments of grief, humor, and healing, all unfolding over the course of several extraordinary days. What makes Come from Away especially powerful, beyond the story it tells, is how it was created. Writers Irene Sankoff and David Hein built the show from extensive interviews with the people of Gander and the passengers who were stranded there. That documentary-style approach gives the musical authenticity and emotional honesty. Every character feels grounded in truth and fleshed out, even if they are only featured in a small scene, and the details of each individual, whether comic or heartbreaking, feel lived in rather than a stereotype. The result is storytelling that feels intimate and respectful, honoring real people and real experiences, and showing the ability of theatre to be a cathartic, emotional, and ultimately uplifting experience, even when the subject matter is centered around a tragic moment in time. The original Broadway production of Come from Away was one of the finest examples of stage direction I've seen in the past decade, an opinion shared by the Tony voters who awarded Christopher Ashley the Tony for Best Direction of a Musical. This production clearly understands what made that staging so special. Michael Barnard's direction, Nathaniel Shaw's choreography and the creative elements feel like a loving homage to the original Broadway production, from the fluid transitions to the purposeful simplicity of Robert Kovach's set which uses a series of chairs and tables that are quickly rearranged to depict the dozens of settings in the show, while also finding fresh moments that add depth and clarity. Barnard's subtle variations in pacing and focus allow the emotional beats to land with impact; my only quibble is that the opening moments lean a little too much into the humor and eccentricities of the Gander characters, which provides some unintentional laughter. The eight-piece band under Alan Plado's music direction is fantastic. The 12-member ensemble, almost all of whom are local, is remarkable, seamlessly transforming and morphing into dozens of characters with clarity and ease. D. Scott Withers anchors the show as the mayor of Gander, a narrator of sorts who embodies quiet leadership and compassion, while, like the rest of the cast, he shifts into other roles with sharp distinction. Amy Jo Halliday brings a lovely sense of power and warmth as Beverley Bass, the American Airlines pilot whose journey grounds the audience in the fear and responsibility felt by those in the air that day. Maria Amorocho beautifully brings to life Beulah, the woman coordinating accommodations for a large group of passengers. She has a firefighter son, which makes her connection with Hannah, a woman from New York whose firefighter son hasn't been heard from, especially powerful. Chanel Bragg's portrayal of Hannah is especially moving. Trisha Ditsworth is great as the no-nonsense head of the local animal shelter, while Rusty Ferracane and Sally Jo Bannow play Nick and Diane, two strangers who meet in Gander; their unexpected connection becomes one of the show's most touching storylines. Caleb Reese and Levin Valayil portray two men who are both named Kevin, a gay couple who find themselves at a crossroads after their experience in Gander; Valayil also plays a Muslim man who faces a painful experience, while Reese's portrayal of the speech President Bush gave shortly after the terrorist attacks is quite moving. As Janice, the local news reporter who is finding her first day on the job not at all what she thought it would be, Caelan Creaser effectively shows the confusion and warmth that many locals felt that day. Matravius Avent is quite memorable as an African American who is suspicious of the Gander residents, and EJ Dohring is excellent as an assortment of various other characters, including Oz, the quirky Gander policeman. Each cast member demonstrates impressive versatility, moving effortlessly between accents, ages, and emotional states; Kade McCloud's dialect coaching is impressive. Their collective work creates a true ensemble experience, where no single performance overshadows the others and the storytelling, and the uniqueness of each of the characters, remains front and center. Seeing Come from Away at Phoenix Theatre will most likely leave you with a renewed sense of hope. It is a powerful reminder of what people are capable of when compassion leads the way, and it stands as an affecting, beautifully realized tribute to humanity at its best. Come from Away runs through March 29, 2026, at The Phoenix Theatre Company, 1825 N Central Avenue, Phoenix AZ. For tickets and information, please visit phoenixtheatre.com or call 602-254-2151. Director: Michael Barnard Cast: *Members of Actors' Equity Association, the union of professional actors & stage managers in the U.S. |
