On September 11, 2001 the world stopped. On September 12, their stories moved us all.
COME FROM AWAY is the breathtaking musical that reminds you of what good the human spirit is capable of. Written by Irene Sankoff and David Hein, and directed by Christopher Ashley, this musical shines a lot on the best of what we are capable in the absolute worst of times.
In a heartbeat, 38 planes with 6,579 passengers were stranded in a remote town in Newfoundland on a devastating day in September 2001. The locals in Gander opened their hearts and homes to thousands of stranded strangers, spurring unexpected camaraderie in extraordinary circumstances.
Come From Away will not be remembered for its distinguished score, the rousing exuberance of several of its Celtic-rooted numbers notwithstanding. It will not be remembered for the poetry of its book nor for its sophisticated examination of human behavior in rural communities. Rather, it is determined, with good humor and generous Canadian self-deprecation, to remind us of one of the few happy stories to emerge from that terrible day. There are a few moments of conflict with an Egyptian passenger on a day of much mistrust, but they are resolved with relative ease. The Gander of Come From Away takes a while to learn how to be kind to its visitors, but it sure figures it out. Over donuts at Tim Hortons.
Sankoff and Hein's book tries to drum up suspense in the show's opening scenes by telling us that few of these visitors to Gander knew about the attacks on the World Trade Center and the Pentagon, because few people back then owned cell phones. Really? As songwriters, this duo relies on a strong percussive element that's so incessant that their songs take on a militaristic flair. And they're also very, very loud. Gareth Owen's sound design is the most abrasive to grace a Broadway stage since the entry of 'Waitress' a year ago. Dialogue is shrill and disembodied from the actors, and when the ensemble sings any of the show's foot-stomping anthems, the lyrics are indecipherable. Come from Away is a musical about hope, perseverance and people coming together to help each other in difficult times. The Gander townspeople have much in common with the citizens of Meredith Willson's River City, only they're much more adorable.
2016 | Washington, DC (Regional) |
Ford's Theater Production Washington, DC (Regional) |
2017 | Broadway |
Original Broadway Production Broadway |
2018 | Toronto |
Toronto Production Toronto |
2018 | US Tour |
First National Tour US Tour |
2021 | West End |
Original West End Production West End |
2023 | US Tour |
North American Tour US Tour |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2017 | Drama Desk Awards | Outstanding Book of a Musical | Irene Sankoff |
2017 | Drama Desk Awards | Outstanding Choreography | Kelly Devine |
2017 | Drama Desk Awards | Outstanding Costume Design for a Musical | Toni-Leslie James |
2017 | Drama Desk Awards | Outstanding Director of a Musical | Christopher Ashley |
2017 | Drama Desk Awards | Outstanding Featured Actress in a Musical | Jenn Colella |
2017 | Drama Desk Awards | Outstanding Lyrics | Irene Sankoff |
2017 | Drama Desk Awards | Outstanding Music | Irene Sankoff |
2017 | Drama Desk Awards | Outstanding Musical | Come From Away |
2017 | Drama Desk Awards | Outstanding Orchestrations | August Eriksmoen |
2017 | Drama League Awards | Outstanding Production of a Broadway of Off-Broadway Musical | Come From Away |
2017 | Outer Critics Circle Awards | Outstanding Book of a Musical (Broadway or Off-Broadway) | Irene Sankoff |
2017 | Outer Critics Circle Awards | Outstanding Choreographer | Kelly Devine |
2017 | Outer Critics Circle Awards | Outstanding Director of a Musical | Christopher Ashley |
2017 | Outer Critics Circle Awards | Outstanding Featured Actress in a Musical | Jenn Colella |
2017 | Outer Critics Circle Awards | Outstanding New Broadway Musical | Come From Away |
2017 | Outer Critics Circle Awards | Outstanding New Score (Broadway or Off-Broadway) | Irene Sankoff |
2017 | Outer Critics Circle Awards | Outstanding Sound Design (Play or Musical) | Gareth Owen |
2017 | Tony Awards | Best Book of a Musical | Irene Sankoff |
2017 | Tony Awards | Best Choreography | Kelly Devine |
2017 | Tony Awards | Best Direction of a Musical | Christopher Ashley |
2017 | Tony Awards | Best Lighting Design of a Musical | Howell Binkley |
2017 | Tony Awards | Best Lighting Design of a Musical | Howell Binkley |
2017 | Tony Awards | Best Original Score (Music and/or Lyrics) Written for the Theatre | Irene Sankoff |
2017 | Tony Awards | Best Performance by an Actress in a Featured Role in a Musical | Jenn Colella |
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