With the performance rights to Come from Away now available to numerous regional professional theatres across Canada, it is unlikely that audiences will lose interest in witnessing the East Coast spirit and generosity of Newfoundlanders.
The inclusion of a pro-US lyric, where pilot Beverley Bass (Julie Martell) notes her plane crossing the Canadian border and welcomes passengers back to the United States, reflects an American perspective. However, this does not diminish the extraordinary actions of Canadians in Gander and neighbouring communities, who offered hospitality to approximately 7,000 stranded passengers from thirty-eight diverted flights following the tragic events of September 11, 2001. In appreciation, many guests revisited Gander for the tenth anniversary, expressing gratitude and forging lasting bonds of warmth and friendship.
Come From Away features 12 actors who embody multiple roles, inspired by interviews conducted by writers David Hein and Irene Sankoff about the immediate aftermath of the September 11 attacks.
Set Designer Andrew Cull’s visual approach brings a new aesthetic to Neptune’s Fountain Hall stage, distinct from previous Toronto and Broadway presentations. In this production, the musicians, led by Avery-Jean Brennan as Musical Director, Conductor, and Keyboardist, are positioned beneath the stage. Cull maximizes the Fountain Hall Stage by incorporating various levels throughout the set. Mackenzie Cornfield’s video and projection designs subtly reinforce the setting, emphasizing that the audience is situated in Gander rather than Halifax.
Jess Lewis’s lighting transitions seamlessly between warmth and darkness, enhancing the dramatic effect. Helena Marriott designs costumes that differentiate themselves from those worn in the Toronto and Broadway shows. Sound Designer Brian Kenny strikes a balance between singers and musicians, ensuring key lyrics are clearly audible. The rendition of ‘The Prayer’ is notably moving, delivered with both clarity and sensitivity.
After attending several Toronto performances, including both the pre-Broadway tryout cast and the original Broadway lineup, I wondered whether the choreography would remain consistent or change. Choreographer Liliona Quarmyne deserves recognition for crafting distinctive rhythmic movements that perfectly match the show’s musical score, especially in standout numbers like the opening ‘Welcome to the Rock’ and ‘The Screech In.’
Avery-Jean Brennan, the Music Director and Conductor, along with Director Jeremy Webb, carry the important task of maintaining the emotional resonance of this ‘remarkably true story’. Both are fully aware of the weight of that responsibility.
They don’t disappoint in confronting this challenge head-on by envisioning and guiding a rich distinction among the actors’ voices.
Brennan and Webb’s genuine empathy in telling an extremely difficult story with dignity, humour and grace (and even a bit of fun theatricality for ‘Screech In’) renders the musical one in which any audience member can identify at any given moment. It’s true some of the characters are stock – the empowered female in pilot Beverley Bass (Martell); the wisecracking, smart-ass gay couple Kevin J (Gryphyn Karimloo) and Kevin T (David Light); the black stereotype of Bob (Brandon Michael Arrington) going around to take the neighbours’ barbeques are three – Brennan and Webb wisely choose not to have the actors play these characters only on a superficial level.
Julie Martell’s ‘Me and the Sky’ still gives goosebumps because she knows when to pause for emphasis and when to kick it up a notch for maximum effect, as she sings: “The one thing that I loved more than anything was used as a bomb.” Karimloo and Light’s two Kevins thankfully move beyond that ugly gay stereotype as we see them hurt each other while their communication as a couple breaks down before the audience. Arrington’s Bob is initially quite funny in his confusion about the people’s kindness in saying it’s alright to take the BBQ. Yet Bob’s later conversation with his dad about being so much more in Newfoundland once again hits close to the heart.
Several scenes stand out with powerful emotion that resonate deeply. In ‘I Am Here,’ Jenni Burke delivers a haunting portrayal as Hannah, the mother of a missing firefighter, her raspy vocals vividly capturing a parent’s anguish at being unable to help her child. Ryan Rogerson depicts Gander’s mayor, Claude, with rough warmth—his heartfelt monologue about enduring five sleepless nights leaves a lasting impression. Meanwhile, Michelle Langille’s Diane and Ian Sherwood’s Nick share a gentle chemistry as their relationship blossoms, lending an extra poignancy to their duet, ‘Stop the World.’
Kih Becke’s portrayal of Rogers TV reporter Janice Mosher illustrates the challenges faced by emerging journalists. When Becke, in the role of Mosher, states, “I don’t think I can do this anymore,” following an offstage discussion with Hannah regarding her missing son, she effectively conveys the emotional toll of the situation through nuanced facial expressions and eye contact. Becca Guilderson delivers a memorable performance as SPCA volunteer Bonnie, whose profound compassion for animals remains evident throughout, especially as the fate of the Nobu chimpanzee’s baby is revealed. Martha Irving lends warmth and depth to the character of teacher Beulah, embodying a nurturing, protective figure in her interactions with Hannah. Clint Butler demonstrates versatility, offering a humorous portrayal of Oz and then seamlessly transitioning to the dignified role of the Rabbi in ‘The Prayer’.
The Neptune production marks the first of four CFAs I will see by the end of this coming September. The other three are London, Ontario’s Grand Theatre; Port Hope, Ontario’s Capitol Theatre, and Thousand Islands’ Playhouse, Gananoque, Ontario.
I am looking forward to seeing how the other productions are staged.
Given that the current sitting president appears (seems?) to have forgotten the kindness extended years ago, it’s up to Canadians and our theatre to remind everyone not to forget what we did. Canadians are a strong, resilient, unselfish people who can, have and will survive, and I believe we would most assuredly lend a hand again in the event of another horrific world event.
If anything, Canadians need David Hein and Irene Sankoff’s story told now. It also needs to be told again and again, as the ongoing on-and-off stare-down with the US looms large amid economic and cultural uncertainty.
Thank you, Neptune Artistic Director, Jeremy Webb. Your persistent diligence (and cheeky humour) in your Program Note, in comically defying a number of figurative restraining orders from the show’s creators and producers, will pay dividends.
It makes sense for my Come from Away journey to begin in Halifax with a 90% Atlantic Canadian cast.
Running time: approximately 100 minutes with no intermission.
The production runs to June 21, 2026, on the Fountain Hall Stage at Halifax’s Neptune Theatre, 1593 Argyle Street. For tickets: neptunetheatre.com or call (902) 429-7070 or email agent@neptunetheatre.com.
NEPTUNE THEATRE presents
COME FROM AWAY Book, Music and Lyrics by David Hein and Irene Sankoff
Directed by Jeremy Webb
Musical Director and Conductor: Avery-Jean Brennan
Choreographer: Liliona Quarmyne
Set Designer: Andrew Cull
Costume Designer: Helena Marriott
Lighting Designer: Jess Lewis
Sound Designer: Brian Kenny
Video Projection//Design: Mackenzie Cornfield
Dialect Coach: Sherry Smith
Intimacy Director: Samantha Wilson
Stage Manager: Michael Panich
Assistant Stage Manager: Jen Hewitt
Apprentice Stage Manager: Eve Rowlett
Associate Set Designer: Lucas Arab
Assistant Costume Designer: Schuÿler Edgar Holmes
Chrysalis Director: Ganesh Tava
Chrysalis Lighting: Bea Crowther
Performers: Brandon Michael Arrington, Kih Becke, Jenni Burke, Clint Butler, Becca Guilderson, Martha Irving, Gryphyn Karimloo, Michelle Langille, David Light, Julie Martell, Ryan Rogerson, Ian Sherwood, Jade Douris-O’Hara, Shaquille Pottinger, Hugh Ritchie
