Earlier this month, we marked the 25th anniversary of the September 11 attacks (you may have noticed some brief mentions in the news). A quarter of a century is a long time. But for those who were around, the images of the World Trade Center collapse, a burning Pentagon, and wreckage of United 93 are indelibly seared into your mind.
The U.S. closed its airspace to international flights almost immediately, with some 500 inbound flights diverted or turned back. Canada received 226 of these, with 38 planes carrying around 7,000 passengers landing at the airport in Gander, Newfoundland alone.
Which brings us to Come From Away, the Tony Award-winning musical from Irene Sankoff and David Hein that premiered at Stages last night. It tells the story of how a small town in Canada handled the near doubling of its population, how thousands of displaced passengers grappled with uncertainty in the aftermath of catastrophe, and the bonds forged between the two disparate populations.
Come From Away has been through Houston before, at Broadway at the Hobby Center in 2020 and TUTS in 2022. Two big differences mark the production Artistic Director Derek Charles Livingston has brought to Stages. The first, of course, is the intimacy of the 231-seat theater. Second, this time around, the production features an all-Houston cast. And should you foolishly believe this would somehow indicate a drop-off in quality, you clearly don’t know what you’re on aboot.
That 12-person cast juggles dozens of roles, both Gander locals and stranded travelers. Our introduction to the town comes from mayor Claude (Shawn Hamilton), relating the events of that fateful day as they unspooled at the local Tim Horton’s (“38 Planes”). Local teachers Beverly (Laney Todd Carlin) and Annette (Brooke Wilson) move to mobilize resources (“Blankets and Bedding”). Meanwhile Claude attempts to broker an agreement with Garth (Brock Hatton), the leader of the striking school bus drivers, to transfer the “come from aways” to temporary lodgings (“28 Hours/Wherever We Are”).
The production itself is a study in utilitarian efficiency (I’ve never seen so much work done by a dozen or so plastic chairs). Director/choreographer Valerie Rachelle masterfully handles a constantly in-motion cast, giving ample attention to the numerous subplots and ensuring every character gets their time in the Canadian sun.
Some of the aforementioned character arcs are probably more famous than others. British corporate oil guy Nick (James Cowan) meets Texan Diane (Courtney Markowitz) in Gander and (spoiler) eventually proposes (the two are still married). The two Kevins (Hatton, Alex Quirreh) experience a less magical experience. As we’ll see, the latter doesn’t take to the community with the same enthusiasm as his partner.
It says a lot about a show’s cast when the performances are so consistently excellent that it’s hard to single out individuals. One highlight is Wilson, who also plays Beverley, the first female captain for American Airlines (“Me and the Sky”). Her story is compelling enough even without realizing she lost friend Charles Burlingame, who was the pilot of American 77, which crashed into the Pentagon.
Hamilton impresses as both no-nonsense mayor Clause and the Irish whiskey enjoying Derm. And then there’s Jeremy Gee, showing his versatility portrayng Gander’s police chief (in a two-person department) and a stranded rabbi. Alisa Muench and Heather Hall provide some of the show’s lighter moments. They play — respectively — a flight attendant/Gander reporter and a local SPCA worker.
Sankoff and Hein also focus on connections between the “plane people” and the attacks. In addition to Wilson, there’s also the saga of Hannah (Lakeisha Rochelle Randle), desperate for word on her NYC firefighter son (“I Am Here”). And Camryn Nunley doubles up as Muhumza — a passenger from Africa — and Bob, a New Yorker incredulous at the warm reception the passengers receive.
Come From Away is pretty notorious for being a feel-good story. And it is. Mostly. One Kevin isn’t quite as enamored with the concept of kissing a cod to become an honorary Newfoundlander (“Screech In”). More pointed is the plight of Ali (Quirreh), an Egyptian master chef who’s the only passenger detained upon deplaning. His Muslim beliefs also lead to tensions on the ground (“On the Edge”). And he’s the only passenger subjected to a strip search before being allowed to disembark when U.S. airspace reopens. His scenes remind us that, for all the kumbaya of the events in Gander, tolerance only goes so far.
But even this is wrapped up satisfactorily (Ali mails Beverly afterwards to ask for her cod and cheese recipe). Because Sankoff and Hein’s intention wasn’t to highlight the schisms in our respective national psyches. Instead, they wanted to show how — for lack of a better term — the kindness of strangers can still make a difference. Generosity matters, and is still extant. At least in Canada.
Present day realities are hard to ignore. Many of those notoriously affable Canadians have expressed their anger and disappointment with the recent actions of one of their oldest allies. Come From Away reminds us of the importance of simple empathy — now a bad word, apparently — and human kindness. Livingston and Rachelle’s virtuoso production brings this sentiment to life. I’d like to believe that, were similar events to happen in under our current Administration, that the citizens of Gander would welcome stranded Americans with as much generosity as in 2001.
But I wouldn’t blame them if they didn’t.
Performances continue through October 18 at 7 p.m. Wednesdays through Saturdays and 2 p.m. Saturdays and Sundays at The Gordy, 800 Rosine. For more information, call 713-527-0123 or visit stageshouston.com. $25-$127.
