Savoyards’ production of Come From Away brings infectious energy and emotion to this story about human kindness and connection enduring in unimaginable circumstances.
Come From Away tells the story of a tiny town on the island of Newfoundland, Canada, which hosted 7000 unexpected visitors on September 11, 2001, when planes were diverted from US airspace after the attack on the World Trade Centre. 38 planes landed in the town of Gander, and the local community rallied to support thousands of shocked and scared strangers from around the world. Amidst grief, suspicion, and agonising uncertainty, relationships changed and unlikely friendships formed as the Newfoundlanders opened their town to the “plane people”.
Although the musical celebrates compassion and community in the face of unprecedented global events, it doesn’t shy away from the horror and loss September 11 or its aftermath, or from the heightened security and Islamophobia that rose sharply as a result of the attacks.
With book, music, and lyrics by Irene Sankoff and David Hein, Come From Away is based on real people and their stories. Sankoff and Hein visited Gander in 2011, on the tenth anniversary of the attacks, to interview locals and returning passengers. Come From Away opened on Broadway in 2017, winning the Tony Award for Best Direction of a Musical that year, for Christopher Ashley, with seven nominations including Best Musical, Best Book, and Best Score.
Directed and designed by Andrew Cockroft-Penman and performed at the Iona Performing Arts Centre, Savoyards’ Come From Away featured a live band seated around the perimeter of the stage rather than in the orchestra pit. The music of Come From Away is inspired by folk music, and the songs are both toe-tapping and emotionally charged. Musical Director Steven Days conducted the onstage band and played the keyboard and accordion.
The many folks of Come From Away were brought to life by a rock-solid ensemble of twelve, all playing a roster of multiple characters and managing accents from across the North American continent and beyond. Layers of costuming designed by Kim Heslewood also helped to mark the transitions between characters.
Vanessa Wainwright brought her powerful voice to the role of Hannah, a New York mother stranded in Gander and desperately waiting for news about her fire-fighter son. Jason Kiger maintained a distinct and absolute characterisation for each of his many characters including Claude, the mayor of Gander.
Jenna Murphy played animal lover and SPCA worker Bonnie with great feeling and zeal, and Mike Zarate played likeable, laidback police constable Oz among other roles.
Natalie Lennox and Joshua Langdon played Diane and Nick with sweet and awkward chemistry, two strangers who find an unlikely connection in the wake of tragedy. Priya Shah played a determined, empathetic first-time news reporter Janice, and Carolyn Latter was warm and maternal as Beulah, taking gentle charge of the hundreds of plane people staying at the school.
Jackie Fredericksen played Beverley Bass with conviction – Bass was the first female captain of an American Airlines commercial plane, and one of the pilots who was ordered to land in Gander en route from Paris to Dallas – and was also a daydreaming romantic as Beulah’s offsider Annette.
Mark Rickell gave a passionate performance as plane passenger Kevin T, the leader of the bus driver strike, and others. Among other characters, Rushad Katrak played cynical New Yorker Kevin J and Egyptian master chef Ali, who is subject to suspicion and aggression from fellow passengers as well as the airline.
Lonnie Toia was full of personality and humour in roles including Bob, a New Yorker who is initially skeptical of the earnest kindness of his Newfoundland hosts but forms a fast friendship with the mayor of a neighbouring town (and whose real-life counterpart launched a scholarship fund for the children of Gander after his experience).
Kaitlin Hague transformed mundane action like sighing or swinging on a jacket into dynamic choreography, in addition to more traditional ensemble movement. Although microphones were patchy in moments, sound design by Allan Nuttley and Ethan Houley supported the live music and action unfolding onstage.
The wooden curve of the set design provided a minimalist backdrop that nonetheless suggested the forested, coastal island of Newfoundland, and the cast shifted chairs and tables throughout the performance to change scenes and setting.
The backdrop also reflected the impactful, varied lighting designed by Chloe Harrison, which included handheld lights, single bulbs that raised and lowered at moments of high emotion, and the warm party lights of the local pub.
Savoyards consistently produces community theatre of impressive quality, and this heartwarming production of Come From Away is no exception, showcasing a wealth of local talent with enthusiasm while reminding us to reach beyond fear and find hope, hospitality, and humanity.
Come From Away will be performed at Iona Performing Arts Centre, Lindum, from 21 June – 5 July 2025
For ticketing and further information, visit the Savoyard swebsite
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