COME FROM AWAY, the Broadway musical about the true story of the small town of Gander in Newfoundland that welcomed the world, played a limited show engagement at Bass Concert Hall as part of the Texas Performing Arts Broadway in Austin 24-25 Season.
COME FROM AWAY tells the remarkable story of 7,000 passengers worldwide and the townsfolk who embraced them with open arms on September 11, 2001, the day the world stopped. Stuck in the town for several days, the musical captures the raw emotions, cultural clashes, and eventual friendships that emerge after tragedy. It showed the civil humanity of the Newfoundlanders (who all spoke with Irish accents?)-from the mayor to all the townsfolks from Gander and further afield who for almost five whole days, did not sleep to help the stranded passengers.
Having seen the production, I can attest to its stunningly complex choreography, which uses minimal stage changes. The set mainly consists of chairs, a bar, and exceptional lighting to transport the audience seamlessly between an airport, a moving bus, an airplane cabin, a bar, and even a Tim Horton’s. The actors move with fluidity, and their actions mimic the bumps and turbulence of a bus or plane with grace indistinguishable from that of dancers. Yet their role is even more demanding than traditional dancers: they remain in constant motion for 1 hour and 45 minutes, all while singing, performing lines, and moving the story forward.
The production also highlights poignant cultural differences. For instance, there is a moment when a Black character hesitates to retrieve a barbecue grill from a neighbor’s yard, fearing retribution—a subtle nod to racism that feels alien in the welcoming environment of Newfoundland. Similarly, fear and prejudice against Muslims are addressed through the story of a renowned hotel chef who faces suspicion simply because of his faith, a painful reflection of heightened xenophobia. These moments are balanced by the show’s humor and heartwarming displays of humanity, such as the Newfoundlanders’ outright refusal to accept money for their kindness.
Adding depth to the narrative, COME FROM AWAY introduces us to groundbreaking individuals, such as the first female American airline pilot, who shares her experiences. Through stories like hers, the musical celebrates the resilience and diversity of the human spirit. Several actors played multiple roles with ease and aplomb.
Critics have praised the production, with Charles McNulty of the Los Angeles Times describing it as “An affecting, stirring and unpretentious new musical” and Bob Verini of Variety hailing it as “Superb! A moving, thoroughly entertaining tribute to international amity and the indomitable human spirit.”
Returning cast members include Kathleen Cameron, Addison Garner, Andrew Hendrick, Kristin Litzenberg, Erich Schroeder, and Andre Williams. The 24-25 touring production will also feature John Anker Bow, Ryaan Farhadi, Richard Chaz Gomez, Jordan Hayakawa, Tyler Olshansky-Bailon, Hannah-Kathryn Wall, Nick Berke, K. Bernice, Jordan Diggory, Rayna L. Hickman, Sierra Naomi, and Justin Phillips.
The production boasts an impressive creative team led by Irene Sankoff and David Hein, the Olivier, Drama Desk, and Outer Critics Circle Award winners who earned Grammy and Tony nominations. Directed by Christopher Ashley and with musical staging by Kelly Devine, the show’s design elements further elevate the storytelling. Scenic design by Tony Award winner Beowulf Boritt and lighting design by two-time Tony winner Howell Binkley create an immersive experience. At the same time, Ian Eisendrath’s music supervision ensures every note resonates. The live music performance was a bonus, especially at the show’s close, where the musicians followed the encore with a foot-stomping ‘ode to life’ tune.
COME FROM AWAY has garnered acclaim across North America, winning numerous awards, including the Tony for Best Direction of a Musical, and multiple accolades in London, Toronto, and beyond. Its Grammy-nominated original Broadway cast recording is widely available and showcases the musical’s heartfelt and evocative score.
Photo credit: Matthew Murphy