London’s Grand Theatre made an excellent choice to close out its 2025-26 season.
Set in the town of Gander, Newfoundland, and the surrounding area after 9/11, Come From Away follows the five-day story of some of the 7,000 passengers and flight crew from the thirty-eight planes diverted after the destruction of New York City’s Twin Towers. Amid one of the most horrific moments at the beginning of the twenty-first century, kindness, compassion, humour, and a Screech in (to make the ‘come from aways’ honorary Newfoundlanders) lifted everyone’s spirits. In appreciation, many of these ‘come from aways’ returned to Gander for the tenth anniversary, expressing gratitude and forging lasting friendships.
This is my second viewing, having seen the show last month in Halifax. I’m curious how different creative teams will stage this homespun Canadian musical, which shows no signs of slowing down. I have two more: Port Hope’s Capitol Theatre in July and Thousand Islands’ Playhouse in Gananoque in September.
Director Julie Tomaino does not disappoint with her creative vision. In fact, her Programme Note uses the word ‘love’ five times in the opening paragraph. After leaving the theatre, I found this Grand production had renewed my love for the story.
This time around, Tomaino and set designer Scott Penner focus on the map marker ‘You Are Here’ and the iconic Parks Canada red chairs, which originated at Gros Morne National Park in Newfoundland and spread across the country. The chairs become the centrepiece of the Grand’s production, representing individuals from around the world, as well as countries, religious backgrounds, and communities.
Attractively lit by Jareth Li’s array of shadows and brightness, Penner beautifully showcases chairs in his scenic design, which sweeps behind the onstage action to create a sense of visual depth and the vast number of people in the communities. The red chairs at the end serve as a striking visual element on the Spriet stage. Ming Wong’s costumes are authentic, ordinary-looking clothes that working people would wear daily.
Nicol Spinola’s choreography and movement work well with the musical score. From my seat, it looked like there was no revolving stage, so the movement of chairs, or ‘chairography’ (as I heard that term used in the Toronto production), became of prime importance. The chairography works oh so well, with the action remaining seamless and fluid throughout.
Sound Designer Brian Kenny optimally balances the levels between the orchestra and the singers, a bonus for Sarah Richardson, allowing her to focus on the emotional impact of the musical numbers, which continue to hit with pulsating human vibrancy, notably in the opening ‘Welcome to the Rock’, ‘Screech In’, and ‘Prayer’.
Tomaino’s twelve-member cast, who play a variety of characters, deliver stirring, rousing performances. My guest (who had never seen the Toronto production) was in tears several times.
Darrin Baker’s mayor, Claude, is gruff and resolute. There’s a strike between the bus drivers and the town council, and Claude is doing his best to bring all parties to the table. Now add responsibility for ensuring everyone’s safety when passengers are finally allowed to disembark from the planes, and Claude’s work multiplies. Baker never resorts to histrionics. His final words to the audience, spoken when he returns home and sits down, still pack an emotional wallop because Baker speaks with conviction. It’s what any of us would do after an exhausting five days.
The growing attraction between Steven Gallagher’s Nick and Lori Nancy Kalaminski’s Diane still holds genuine appeal. Their duet ‘Stop the World’ is lovely and real, sung from the heart. Kelly Holiff’s rookie Rogers TV reporter, Janice Mosher, shows how adversity can take a toll on those new to their careers. The sad, frustrated, and shocked look in Holiff’s eyes when she says she doesn’t know if she can do her work anymore after speaking off-camera with Hannah says it all. Holiff also plays the Rabbi during ‘Prayer,’ and it’s a distinct choice that works.
Divine Brown’s Hannah is completely believable as her anxiety grows in ‘I Am Here’ over her inability to connect with her New York firefighter son. Izad Etemadi and Alex Wierzbicki’s gay couple, Kevin T and Kevin J, provide welcome moments of humour without ever sacrificing their humanity as they confront the realities of their relationship. Sheldon Elter’s Oz is the lovable cop who hands out warning tickets with an acronym that still draws laughter during the opening musical number.
As SPCA volunteer, Denise Oucharek’s Bonnie is all heart in her concern for the animals in the airplane’s stowage. There are still gasps when she shares what’s happened to one of the animals. Darlene Spencer’s schoolteacher, Beulah, becomes that trusted listener we all need, most evident when she sits with Hannah, waiting for news about her son.
As Captain Beverley Bass (the first female pilot for American Airlines), Cailin Stadnyk keeps the audience riveted as she tells her story of how she became a pilot in ‘Me and the Sky’. It’s a challenging number, as Stadnyk has to navigate an emotional crescendo of highs and lows. She delivers the stark line: “The one thing I love more than anything was used as a bomb” effectively, placing the audience in quiet, contemplative recognition of the horrible truth of that lyric.
This Grand Come From Away truly shows the kindness of people, notably Canadians, at a time when many of us wondered where our world was headed after such an atrocity and the loss of life in September 2001. The recent singing of the Canadian anthem by Americans at the Buffalo Sabres game, despite microphone issues, was a gentle reminder that some of our southern neighbours have not forgotten us.
Please don’t forget to see the Grand’s Come From Away.
Running time: approximately 100 minutes with no interval/intermission.
The production runs to May 31 on the Spriet Stage at London, Ontario’s Grand Theatre, 471 Richmond Street. For tickets: grandtheatre.com or call (519) 672-8800.
GRAND THEATRE presents
Come From Away with Book, Music and Lyrics by Irene Sankoff and David Hein
Directed by Julie Tomaino
Music Director: Sarah Richardson
Choreographer: Nicol Spinola
Set Designer: Scott Penner
Costume Designer: Ming Wong 黄慧明
Lighting Designer: Jareth Li
Sound Designer: Brian Kenny
Orchestra: Sarah Richardson, Matt Ballagh, Dale-Anne Brendon, Jennifer Cahill, Romano Di Nillo, Stephen Ingram, Erik Larson, Devon Martene
Performers: Darrin Baker, Divine Brown, Sheldon Elter, Izad Etemade, Joema Frith, Steven Gallagher, Andrew Hodwitz, Kelly Holiff, Lori Nancy Kalamanski, Heather McGuigan, Denise Ourcarek, Darlene Spencer, Cailin Stadnik, Alex Wierzbicki, Travae Williams
