REVIEW: Welcome home, Come From Away
iPhoto caption: Come From Away production still by Matthew Murphy.
Welcome home, Come From Away.
God, it feels good to write those words — for the Royal Alexandra Theatre to once more house Canada’s most prominent theatrical export. On the surface, not much has changed in Irene Sankoff and David Hein’s Tony Award-winning masterwork about a ragtag group of travellers who on September 11, 2001 found themselves stranded in Gander, Newfoundland.
But in the two and a half years since Come From Away’s last stint on King Street West, the show has continued to mature (and has even served as the inspiration for a certain doughnut-themed pastiche). A new production of the work has appeared in Newfoundland under the direction of Jillian Keiley; cast members from the show’s Broadway and Toronto runs have moved on to other projects; originating director Christopher Ashley has been named artistic director of Roundabout Theatre Company.
And of course, the earth has kept spinning: New global conflicts have emerged that once more make Come From Away feel like a salve for an aching world. “Prayer,” in particular, carries a new heft as its verses in Arabic and Hebrew intertwine in satisfying harmony.
Evolutions in casting have paved the runway for standout performances; Cailin Stadnyk, whose previous time with Come From Away was spent as a standby in Toronto and on the first national tour, is marvellous as Captain Beverly Bass. “Me and the Sky” is a hard sing, with several belted D-flats on tricky vowels, and somehow Stadnyk makes it sound easy.
Other familiar faces make Come From Away feel like a joyful reunion; Steffi Didomenicantonio’s Janice is as bright as ever, and Barbara Fulton and James Kall are a pleasure to watch as their characters sputter and flirt. Saccha Dennis is another highlight as she reprises Hannah, the mother unsure of her firefighter son’s status in New York; her “I Am Here” is deeply felt and perfectly sung. There’s a pleasant, nostalgic edge to seeing Come From Away age alongside its cast and creative team: As actors, still playing the same roles after a decade, get older, so too do their characters, making them feel lived-in and real.
And it wouldn’t be Come From Away without a raucous, mischievous band led by Bob Foster — the unmitigated glee when the musicians come onstage during the Screech-In ceremony and bows is palpable.
If, as a Toronto theatre fan, you’ve managed to get this far without seeing Come From Away, I’m honestly a little impressed; but seriously, now is the time to head downtown and see what the hype’s been about (same-day rush tickets start at $49). This cast is superb, and Come From Away only seems to become more timely as the years flit by. It’s hard to believe that the 20-year anniversary of 9/11 has come and gone, and that the real-life events behind the show’s epilogue occurred nearly 15 years ago; it’s harder still to comprehend just how beautifully Come From Away has evolved.
So yes: Welcome home, Come From Away. We’ve been waiting for you.
Come From Away runs at the Royal Alexandra Theatre until March 2, 2025. Tickets are available here.
Aisling Murphy
Aisling is Intermission's former senior editor and the theatre reporter for the Globe and Mail. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
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iPhoto caption: Photo by Aisling Murphy.
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A Terrible Production – Superficial and shallow using tokenistic representations of people
Come From Away is a musical that purports to celebrate a significant historical event; however, relies on tokenistic representations that predominantly favor white characters. While the underlying true story holds merit and should be shared and celebrated, it’s a lovely story that occurred during a really tough time in history, the production relies on grossly inaccurate and harmful stereotypes associated with gay and Black men to elevate a limited group’s actions. This production is just gross.