Sankoff & Hein’s Musical Turns Crisis into Connection

by Isa S. Chu

A sign in the lobby informs us that our “layover” is 100 minutes long. Suitcases and pet carriers line the front of the stage, and pre-show announcements in a flight attendant’s familiar tone let us know we have already boarded.

I didn’t expect to be on the edge of my seat as the stories unfolded from “the edge of the world.” The show captures the human wariness of strangers, and our equally powerful ability to override that conditioning with compassion.

“Come From Away” tells the story of Gander, a small town in Newfoundland, an isolated island in the Atlantic off Canada. Ganderites suddenly find themselves hosting 7,000 stranded airline passengers after all flights are grounded on September 11, 2001.

Like the air lifting a plane, the staging is fluid and deeply felt. Through music, minimal choreography, and seamless transitions, Director Robert Kelley creates a world that expands and contracts with ease.

Two rows of mismatched chairs in a large theater suddenly become claustrophobic. We feel the stranded passengers’ restlessness, trapped on their planes for over 24 hours.

From the lively, drunken bar number “Heave Away,” to the reflective interfaith song “Prayer” led by Kevin T. (melodious Nick Nakashima), “Come From Away” reveals unexpected and generous joy, balancing us between grief and hope.

The ensemble delivers expertly executed harmonies and full, satisfying character arcs, each contributing to a magnificent, emotional tapestry, a true ensemble piece.

Hannah (centered Dawn L. Troupe), desperately waiting for news of her son from his New York firehouse, finds comfort in Beulah (lively Heather Orth), a Newfoundlander with firefighters in her own family.

In a poignant moment, a Gander bus driver reassures a worried African couple with a Bible verse, transcending languages. From that moment, they “start speaking the same language,” showing how our beliefs, often used to divide, can also unite.

And a love story unfolds between Nick (charming Michael Gene Sullivan) from London and Diane (thoughtful Alison Ewing) from Dallas. While Bob (jaunty Anthone D. Jackson), a Black man, slowly lowers his guard in this new, welcoming place–only to feel the racial tension return when he gets home to the United States.

Beverley (determined Melissa WolfKlain), a pioneering female pilot, reflects on her life’s path only to confront the devastating reality that the planes she loves have been used as weapons.

Each actor plays multiple roles that fit together seamlessly. Their accents, postures, and costumes shift in an instant. Each transition a *chef’s kiss.*

In the blink of an eye, Adam Qutaishat flawlessly switches roles between Ali, an Egyptian Muslim chef victimized by Islamophobia, and Kevin J, a gay “sexy-tary” for his partner.

With the help of his cast-mates, Colin Thomson gloriously rotates through four characters: the Mayors of Gander, Lewisport, Gambo, and Appleton.

As for me, I am also different person, now, than I was before I saw this show. “Come From Away” beautifully reminds us all that even in the most uncertain times, kindness is a choice we can all make.

“Come From Away” by Irene Sankoff & David Hein, directed by Robert Kelley, musical direction by William Liberatore, choreography by Alex Perez, and costumes by B. Modern, at TheatreWorks Silicon Valley, Mountain View, California.

Info: theatreworks.org – to May 10, 2026

Cast: Monique Hafen Adams, Kaylee Ann, Alison Ewing, Anthone D. Jackson, Nick Nakashima, Heather Orth, Adam Qutaishat, Chris Reber, Michael Gene Sullivan, Colin Thomson, Dawn L. Troupe, and Melissa WolfKlain.

Banner photo: Alison Ewing, Nick Nakashima, Melissa WolfKlain, Chris Reber, & Anthone D. Jackson. Photos by Kevin Berne