I’ve been waiting to see “Come From Away” since I watched the performance of “Welcome to the Rock” during the 71st Tony Awards on TV in 2017.
Nearly 10 years later, I’m happy to say it was more than worth the wait. The Indiana Repertory Theatre (IRT) always delivers, but there is something truly special about this production.
Set in the town of Gander, Newfoundland, Canada, “Come From Away” tells the story of the miraculous displays of compassion shown to the 7,000 airplane passengers stranded there following the events of Sept. 11, 2001. Written by Irene Sankoff and David Hein, the Tony Award-winning musical first debuted on Broadway in 2017 and is the most-produced play in regional theaters this season, according to American Theatre magazine.
Directed by James Vásquez, “Come From Away” closes out the IRT’s 2025-26 season on the OneAmerica Financial Stage from April 7-May 10.
The music of “Come From Away” is what invites you into the story, blending high-energy Celtic rock and folk. The live band features a fiddle, Irish flute, uilleann pipes, guitars, mandolins, drums, bodhrán, and other percussive instruments, creating an immersive, atmospheric sound.
“Come From Away” features a company of 12 actors who each play a handful of characters each, constantly swapping out costumes, hats and accents as the show progresses and stories begin to weave together. We are introduced to several of the Gander residents, including the mayor Claude (Brian Ray Norris), school teacher Beulah (Terra C. Macleod) and ASPCA employee Bonnie (Bets Malone) and thousands of passengers from all over the world, including Nick (Larry Raben), a British oil industry man, a gay couple both named Kevin (Brett Mutter and Jesse Bhamrah); Ali, an Egyptian and muslin chef (Jesse Bharah); and Bob (Will Mann) an anxious New Yorker.
Without spoiling any of the story, each of the characters you will meet through this cast are beautifully fleshed out and complex, and inspired by some of the real-life people who lived through the events of 9/11 and being stranded in Gander for five days.
If you’re as plugged into the local theater scene as I am, you’ll probably recognize Hannah Embree (Janice & Others), Brett Mutter (Kevin T & Others), Jesse Bhamrah (Kevin J & Others) and Will Mann (Bob & Others) — who appeared as Hermes in the Broadway touring production of “Hadestown.” We had a lovely conversation about the show when it came to Clowes Memorial Hall in 2024.
The cast truly moves so seamlessly together that it makes the joyful, funny moments of this show stand out even more. However, the show doesn’t shy away from the grief and pain of the events. Through “Costume Party” and Hannah’s heartbreaking solo “I am Here,” we see how grief can change people in an instant.
“Prayer,” which blends the Prayer of St. Francis (“Make Me a Channel of Your Peace”), Hebrew prayers (Oseh Shalom) and Hindu prayers (Asato Maa Sadgamaya) demonstrate that through pain and fear, faith remains a guiding comfort — and that people aren’t as different as we may think.
The set is so simple for how complex the show is. I don’t know what I expected, but what I saw was a complete surprise. The IRT designed a very stripped-back, almost nothing set… Until you start to look a little closer.
In the middle of the stage is a single wooden platform full of transient chairs, and occasionally a table or two. That’s it. Visually, at least. The rest of the story is told through song, dance, movement and quick changes so skilled you’ll hardly notice them sometimes.
However, the stage is more than just the round platform in the center where the action is taking place. This show features a full band, led by music director Angie Benson, and Liz Browder-Bohall on the fiddle and percussionist Landon Thompson, who both make brief appearances on the platform stage during “Screech In.” The musicians are spread out around the platform among tables and racks full of props and clothing, where actors move, change and exchange various items and accents.
This wonderfully bare-bones masterpiece of a set rests in front of a wall of lights, battens and ladders meant to capture the essence of an airport, but also steel from the World Trade Center.
The simplicity of the set makes it easier to suspend your disbelief. The platform is Central Newfoundland, the interior of 38 plane cabins, New York, Texas, California, England, a Tim Hortons restaurant, a primary school, the ASPCA and more.
The lighting design is remarkable, but not as noticeable as previous productions I’ve seen. I feel like this played into that less-is-more idea, where the story is literally driven by emotion. This show doesn’t need anything else to make it good or more realistic. If you’re listening and paying attention to what the actors are saying, the lyrics they’re singing and the way their body language changes, then it’s already immersive enough. It’s a show you can feel with your heart and soul.
Anything else is just theatrics. Literally.
That being said, the theatrics of IRT’s “Come From Away” are stunning. I attended and wrote this review before opening night because I’m about to head on a weeklong vacation, and simply refused to miss this production.
I was familiar enough with this show to know it would be emotional. “Come From Away” is a story about humanity at its best after witnessing it at its worst. It’s about resilience, hope, compassion and the lengths people will go to for one another — even total strangers — amidst a tragedy. It’s beautiful, and we all cried.
That’s not an exaggeration. I was misty-eyed through the whole performance; the man next to me was wiping at his eyes during several songs, and two ladies in front of me had tissues out about 30 minutes into it. I could hear various sniffles and hiccups throughout the night, but I don’t think there was a single dry eye by the time we got to “Something’s missing.”
Rightfully so, as the theater is known for eliciting catharsis, but “Come From Away” is unique in that it’s about an event so many people have a connection to or a story about, even as we approach the 25th anniversary of 9/11. It’s a deeply moving production, and I can’t think of a better time than now to remind people of how easy it is to choose kindness.
“Come From Away” is onstage at the IRT April 7-May 10. The show is approximately one hour and 40 minutes with no intermission.
The show is recommended for audiences 5th grade and above for profanity, depictions of alcohol consumption and drunkenness. The show also features discussions of the events of 9/11; Christian, Jewish and Islamic theology and world cultural traditions and practices.
Tickets start at $27. For more information about showtimes and supplemental programming, visit irtlive.com.
Contact Arts & Culture Reporter Chloe McGowan at 317-762-7848. Follow her on X @chloe_mcgowanxx.
Chloe McGowan is the Arts & Culture Reporter for the Indianapolis Recorder Newspaper. Originally from Columbus, OH, Chloe has a bachelor's in journalism from The Ohio State University. She is a former IndyStar Pulliam Fellow, and has previously worked for Indy Maven, The Lantern, and CityScene Media Group. In her free time, Chloe enjoys live theatre, reading, baking and keeping her plants alive.
