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Come From Away begins from a place of deep uncertainty, yet what emerges is a story grounded in the steady, everyday kindness people offer when they have nothing else to give. Rather than revisiting the events of September 11 themselves, the musical focuses on the human responses that rose in their wake - small gestures that became anchors for thousands of strangers. Currently running at Marriott Theatre, this production leans into that humanity, reminding us that even in moments defined by fear, communities can reveal their best selves and set the stage for the remarkable true story that follows.

The origins of Come From Away trace back to the ten-year reunion of Gander residents and the airline passengers who found themselves unexpectedly grounded there during the September 11, 2001 airspace shutdown. Writers Irene Sankoff and David Hein attended that gathering, listening as people shared memories of fear, generosity, and the strange intimacy of those five days. Those first-hand accounts became the foundation of their musical, built from interviews, lived experiences, and the community’s own reflections.

Come From Away tells the remarkable true story of how the residents of Gander, Newfoundland opened their town to nearly 7,000 stranded passengers, transforming crisis into connection. Sankoff and Hein’s folk-infused score and ensemble-driven storytelling capture both the urgency of the moment and the warmth that defined the community’s response. Through intersecting vignettes - a pilot grappling with the weight of the tragedy, a couple who unexpectedly find love, and townspeople mobilizing with astonishing kindness as they scramble to meet the needs of thousands - the musical builds a fast-moving, emotionally resonant tapestry of resilience. The many moments are uniquely moving. One storyline follows a gay couple who initially fear they may have been displaced into a community that would not welcome them, only to discover that Gander’s embrace is far more open-hearted than they ever expected. Another centers on a mother whose son is a New York City firefighter, her fear deepening with every hour she goes without word of his safety. A further scene reveals how fear and uncertainty led to an instance of racial bias toward a Middle Eastern passenger, underscoring the tension and misunderstanding that shaped those early hours. It is also notable how long it took many of the stranded passengers to even learn why they had been grounded, completely unaware of the September 11 attacks unfolding beyond the airport tarmac.

One of the most striking things Come From Away made me realize is how little I had ever considered the logistics of suddenly hosting 7,000 unexpected guests. Lodging is the obvious hurdle, but the production makes you think about everything else: baby formula and diapers for stranded families, toothpaste and toilet paper for thousands of people who never planned to stay overnight, the sheer volume of food, toiletries, and basic supplies required to keep an entire town functioning under extraordinary circumstances. It is the kind of practical, human detail that rarely crosses your mind until a musical places it right in front of you. And right in the middle of all that panic and uncertainty, one passenger quietly quotes Philippians 4:6 — “Be anxious for nothing.” The moment lands with such gentle force that it clearly holds the audience, as if the reassurance reaches beyond the stage.

The ensemble works together with the fluid precision Come From Away is known for, but a few roles naturally carry more emotional weight. Beverly, played by Lexie Dorsett Sharp, provides one of the show’s strongest through lines, her reflections as a pilot adding quiet depth to the production. Claude, portrayed by Alex Goodrich, anchors the local perspective with a steady, good-humored presence as Gander’s mayor who so wonderfully inspires the townsfolk, while Hannah, brought to life by Sharriese Hamilton, is a deeply felt presence as the firefighter’s mother. Around them, the rest of the company contribute vivid moments that round out the tapestry of stories, each adding texture without overshadowing the show’s ensemble spirit.

Lexie Dorsett Sharp and cast in Marriott's Come From Away. Photo by Justin Barbin.

The cast also gets a welcome lift from its other strong players, each actor shifting cleanly through multiple roles with the precision the show demands. Justin Albinder, in particular, delivers sharply timed, very funny moments that consistently land. Alongside him, Matt Crowle, Devin DeSantis, Denise Devlin, Sarah Bockel, Madison Kauffman, Heidi Kettenring, Michael Earvin Martin, and Jonathan Shaboo contribute to a unified, well-calibrated company whose collective work feels much larger than the sum of its parts.

Marriott’s production benefits from clear, confident leadership behind the scenes. Jessica Fisch’s direction keeps the ensemble moving with purpose, shaping the intersecting stories with a calm, assured touch that lets the emotional beats land without force. Katie Spelman’s choreography adds subtle lift to the staging - never flashy, but always intentional - helping the momentum build in ways that feel organic to the storytelling. Scenic designer Scott Penner and lighting designer Jesse Klug further elevate the production, using Marriott’s in‑the‑round configuration and luggage that doubles as plane seats to create the illusion of a bustling, overcrowded environment despite a cast of just twelve. Through razor‑sharp transitions, fluid movement, and smart spatial design, the stage often feels packed with 40 or 50 people, turning simplicity into spectacle without ever losing intimacy.

The musical’s score finds some of its strongest moments in a handful of standout numbers. “Me and the Sky,” led by Lexie Dorsett Sharp, remains the show’s defining emotional peak, her performance giving the song a grounded clarity that resonates long after it ends. Ensemble pieces like “Blankets and Bedding” and “28 Hours / Wherever We Are” showcase the cast’s cohesion, capturing both the frantic energy of Gander’s rapid mobilization and the passengers’ first fragile steps toward connection. Alex Goodrich brings an easy charm to “Screech In,” turning the raucous drinking ritual into one of the evening’s most crowd-pleasing scenes. And in “I Am Here,” Sharriese Hamilton delivers a quiet, concentrated punch, shaping one of the musical’s most affecting solo moments. The musical lift throughout is supported by conductor Celia Villacres and music coordinator Trevor Jones, whose work keeps the score driving, unified, and emotionally sharp. In these moments, the score shows its full range, moving easily between lightness, tension, and heartfelt storytelling.

What surprised me most was how deftly the musical balances somberness with humor. Given the weight of September 11^th (now approaching its 25^th anniversary), I expected the tone to stay anchored in grief, but Come From Away keeps finding pockets of levity, warmth, and genuine laughter. The humor never undercuts the tragedy; instead, it highlights the resilience and humanity that emerged in the midst of fear. The show moves back and forth between emotional registers with such ease that you are never left in one feeling for too long, making the experience unexpectedly uplifting.

Marriott Theatre’s production of Come From Away offers a thoughtfully crafted, emotionally grounded evening that earns its place among the company’s stronger musical offerings. The ensemble’s cohesion, the clarity of its overall arc, and the steady warmth woven throughout make this a production well worth seeing.

Highly Recommended.

Runs through October 18^th at Marriott Theatre in Lincolnshire.

One hour and forty‑five minutes with no intermission.

Tickets and additional information: www.marriotttheatre.com/show/come-from-away