Review: Fasten Your Seatbelts and Come See Come From Away at Theatre Raleigh
If I say “musical about 9/11,” you’d probably be horrified. And I don’t blame you- it sounds downright unwatchable, not to mention offensive, insensitive, and about a hundred other things most of us never want to be.
But when I tell you Come From Away is one of the most beautiful, uplifting, heartwarming musicals I have ever seen, I mean it.
To be fair, it’s about 9/11, but it’s not the 9/11 that we here in the United States have come to know and talk about in hushed, respectful tones. Instead, Come From Away is the true story of 38 planes that were in the air during the attacks of 9/11 and were diverted to Gander, a small town on the northeast tip of Newfoundland, Canada. It is the story of a town that opened their homes and their hearts to nearly 7,000 people from around the world while the US airspace was closed and all flights were grounded.
But Come From Away is so much more than a history lesson. Directed by Tim Seib, Theatre Raleigh’s production is a masterclass in human decency, especially given our current global climate. This glimpse into one corner of the world takes an unimaginable tragedy and breaks it down into digestible bits of kindness and love, highlighting a story that may otherwise be forgotten.
One of the incredible things about the production is no one plays just one character. While each character has their “main role,” the twelve actors are constantly switching between passengers and townspeople to give the illusion of an influx of people and the controlled chaos that ensues. Normally, I find it cheesy when actors are constantly switching roles in a show, as it rarely comes off as authentic and instead looks ridiculous as they throw on a fake mustache or change their hair. But the cast of Come From Away has managed to do just the opposite, instead using a hat, jacket, or accessory to distinguish the different roles they play. But it is done so subtly, you almost don’t notice the transition happening until the scene shifts and it is an entirely “new” group of people facing their own fears and struggles, be it language barriers, missing loved ones, or feelings of loneliness.
But perhaps even more impressive than the jacket swaps are the accent shifts. Performers play characters from all around the world, and are constantly switching dialects, be it British, American, thick Newfoundlander Canadian, or one of the several other countries represented in the show. Hats off (no pun intended) to the incredible cast for their ability to keep it straight from scene to scene.
These different intertwining storylines add to the richness and brilliance of the show as we see each performer get moments in their “lead role” as they act as production narrators and interject their own perspectives, be it snarky sassy Bonnie the veterinarian (Casey Worthham), the optimistic ray of sunshine Diane (Chelsea Wilson), or mother hen Beulah (Anne Scaramuzzo).
It is these subtle details and character moments that make Theatre Raleigh’s production so special. Are they really driving a bus on stage? Of course not. Are the drivers holding their imaginary steering wheels horizontal instead of vertical to create the illusion anyway? Absolutely. With a fairly simple set and staging created mostly with the use of chairs, these bits of context and explanation help the plot move along seamlessly.
But perhaps one of the most recognized (and one of the only true solo) moments in the show is Captain Beverley Bass’ song “Me and the Sky.” Bass was the first female pilot for American Airlines, and her story of resiliency, feminism, and equality is memorialized by Sara Jean Ford in the role of Beverley and others. Ford brings a raw, honest authenticity to her performance as she sweeps her audience up into the clouds with her unmatched vocal power and control.
While one of the production’s central themes is our innate human ability to care for others and our capacity for empathy, book music, and lyric writers Irene Sankoff and David Hein have managed to up the emotional factor even more. The entire production was crafted from interviews and records from the “plane people” and the people of Newfoundland that stepped up in this extraordinary feat.
Also included in the cast are Jon Parker Douglas (Oz and others), Sai Graham (Bob and others), Jonah Ho’okano (Kevin J. and others), Eric Jon Mahlum (Claude and others), Payton Prince (Janice and others), Yolanda Rabun (Hannah and others), Brian Westbrook (Nick and others), and Jeremy Woodard (Kevin T. and others). Each one brings something special to the stage and the relationships they portray, adding richness and layers to these interwoven stories.
The production features scenic design from Benedict R. Fancy, lighting design from Rob Denton, sound design from Parker Gagnier, costume design from Ella Brooks (very of the times, I might add), property design from Timothy Domack, and choreography from Lauren Tompkins.
Come From Away is performed without an intermission and features language/themes that may not be suitable for young children. The production runs at the Theatre Raleigh through Sunday, April 19, 2026. Tickets can be purchased here.
Feature photo courtesy of Theatre Raleigh