From the thunderous, opening beat of “Welcome to the Rock,” we know we are in for a ride. There is a reason “Come From Away” has become one of the most celebrated and produced pieces of American theater in recent memory. It is a story we desperately need to hear. This contemporary, company-driven masterpiece officially conquered Broadway in 2017, earning seven Tony nominations. Written by the husband-and-wife duo Irene Sankoff and David Hein, this docu-musical is based entirely on real events, extensive interviews, and lived histories. Sankoff and Hein spent countless hours interviewing the residents of Gander, Newfoundland, and the thousands of stranded airline passengers who suddenly landed on their tarmac when the airspace closed on Sept. 11, 2001. It is a story about the day the world stopped, and the remarkable global neighborhood that started.
Dan Norman
This show is so tightly written that each word is essential in revealing the identity of every soul onstage. The songs in “Come From Away” happen at the best moments, bursting forth only when spoken words are no longer enough to convey the sheer volume of human emotion and propel the narrative along. The production tells one continuous story through a fast-paced, interlocking web of perspectives. It is part musical and part historical documentary. In fact, many of the lyrics, jokes, and lines of dialogue are lifted directly from the transcripts of those real-life interviews.
What makes the piece resonate so is that it is ensemble work at its highest level. There are no principal star vehicles to hide behind here; the collective community itself is the main character. A powerhouse cast of twelve performers is charged with playing both the rugged, fiercely hospitable Newfoundlanders and the anxious, exhausted plane people. The fluidity with which this cast shifts identities is nothing short of miraculous.
Two distinct love stories bear the emotional weight of the narrative. First, we witness the unexpected, tenderly budding romance between Nick, played with a delightful, bumbling charm by local favorite Jim Lichtscheidl, and Diane, portrayed by the luminous Ann Michels. Their chemistry is a study in midlife vulnerability, illustrating the shock of finding love when you least expect it. Then, we have the two Kevins, played with immense heart by Evan Balasubramaniam and Justin Keyes. Their relationship faces the fracturing pressure of a global crisis, exposing a raw willingness to change, struggle, and evolve in the name of love. Both couples share their private turmoils, proving that certain moments of personal transformation could have only happened under the unique, sheltering sky of Gander.
Dan Norman
Soara-Joye Ross delivers a magnificent, anchoring performance as Beverly Bass, the historic first female captain for American Airlines. I spent the entire show eagerly anticipating her rendition of the wrenching biographical anthem “Me & the Sky,” and she does not disappoint. Ross’ voice soars through the theater as she retells her character’s aviation journey, charting the thrill of conquering the clouds and the heartbreak of seeing her beloved sky turned into a weapon. Yet, amid the grand scale of her vocals, it is the quiet moments that stick with you. There is an incredible calmness to her character, Beverly, as she repeatedly assures her husband over the phone, “I’m fine, Tom,” and through that steady, resilient delivery, the audience inherently knows we will be as well.
At its core, this is a story of collective resilience, love, community, and faith that transcends individual religions. Justin Keyes’ performance during the prayer sequence, navigating the haunting melodies of “Make Me a Channel of Your Peace” alongside multi-faith hymns, is a stunning, breathtaking moment. It is one of those sacred, unifying experiences that only live theater can truly deliver to a room full of strangers.
Having the musicians situated directly on stage leads to that specific brand of theatrical magic where each individual performance feels alive and entirely spontaneous. A note might be held a little longer than the night before, a rhythmic accent might hit with a bit more punch, and the tangible connection between the musicians and the actors is deeply felt. They are quite literally here for each other. Their celebratory moment in the spotlight during the final curtain call is well deserved, rocking the house down and sending the audience out into the Minneapolis night on an absolute high.
On the design front, the production elements mirror the show’s grand spirit. Scenic Designer Edward E. Haynes Jr. delivers an exceptionally smart, minimalist set featuring towering trees that feels as wide as all of Gander, yet transforms in a blink to feel as confining as the cabin of a jetliner after 28 grueling hours on the tarmac. Rui Rita’s striking lighting design works in perfect tandem with the staging, making even a single, stark runway light feel intensely dramatic. A massive nod must also go to resident vocal coach Keely Wolter, who clearly worked overtime with this company, precisely dialing in the authentic, rhythmic cadence of the Newfoundland and international dialects without ever sacrificing lyrical clarity.
Dan Norman
In the Guthrie Theater’s production of “Come From Away,” director Kent Gash delivers a definitive masterclass in this exact style of company-driven storytelling. Gash handles the fast-paced, interlocking narrative with exquisite precision and heart. Managing a show where twelve actors must constantly and fluidly pivot between characters requires a razor-sharp eye for clarity, and Gash ensures the audience never loses their place for a single second. His staging strikes the perfect balance between the epic scale of a global crisis and intimate, quiet human connections happening on the ground. Under Gash’s guidance, the production avoids the trap of premeditated, anticipated choices. Instead, he cultivates an insightful, listening energy within his ensemble, allowing the organic humor and the heartbreak to burst forth naturally. It is a triumphant, finely tuned piece of direction that honors the spirit of the story while reminding Twin Cities audiences just how powerful minimalist, collective storytelling can be when steered by a visionary hand.
If you have never seen “Come From Away,” this is exactly the heartwarming production you need right now. If you have already seen it, isn’t it time you went back to Gander? You will leave the theater with an appreciation for humanity and a renewed sense of your own place in the world.
“Come From Away” plays at the Guthrie Theater through Aug. 30.
