Review: COME FROM AWAY Lands Perfectly at City Springs Theatre Company

COME FROM AWAY has landed at City Springs Theatre Company as the regional premiere in the company’s eighth season, and the result is one of the most moving productions the company has staged to date. Directed by Shuler Hensley and choreographed by Marla Phelan, this staging captures both the heart and the relentless momentum that have made the musical so beloved since it first arrived on Broadway in 2017.

Written by Irene Sankoff and David Hein, the show tells the remarkable true story of the 38 planes carrying roughly 7,000 passengers that were diverted to Gander, Newfoundland, following the events of the September 11 attacks. When American airspace closed, this small Canadian town of about 9,000 residents suddenly doubled in population overnight.

The writers even traveled to Gander for the tenth anniversary to interview the people who lived through those extraordinary days. While the characters in the musical aren’t meant to portray specific individuals, they are meant to represent the collective spirit of the community that welcomed thousands of stranded travelers with open arms.

The production relies heavily on its ensemble of twelve performers (six men and six women) who portray dozens of characters through subtle costume shifts, quick prop changes, and remarkably precise accents. One moment they’re airline passengers; the next, they’re locals, pilots, or bus drivers. The transitions are so fluid that entire scenes transform in seconds.

And that’s where Phelan’s choreography becomes the show’s secret weapon.

Unlike many musicals, COME FROM AWAY doesn’t rely on traditional dance numbers. Instead, the choreography lives in the staging itself, most notably through what could best be described as “chair-ography.” Rows of simple chairs become airplane cabins, buses, waiting rooms, and small-town bars. In constant motion, the ensemble rearranges the stage with near-mathematical precision. It’s mesmerizing to watch twelve performers move furniture, transition characters, and maintain vocal performance without a single misstep.

Musically, the show demands just as much stamina as it does precision. Many of the songs are layered in rounds, with overlapping melodies and storytelling threads weaving together simultaneously. The cast barely leaves the stage during the show’s brisk 100-minute runtime, yet the energy never dips. Even when the audience erupted into applause mid-scene, the performers maintained the momentum that keeps the story hurtling forward.

In a show built entirely on ensemble storytelling, the cast operates like a finely tuned machine. Each performer moves seamlessly between characters, accents, and emotional beats without breaking the production’s momentum. Still, several performances stood out. Megan K. Hill was adorable and immediately likable as first-time reporter Janice. Kate Fahrner delivered a strong and emotive Beverly. John Scherer was immediately apparent as the kind-hearted leader we would all hope to have in such an emergency. You got the heart of Beulah (Courtenay Collins) and Bonnie (Rhyn McLemore), the relationship honesty of the Kevins (Jonathan Ludwikowski and Nasir Ali Panjwani), the love of Hannah (Shena Renee), the butterflies of Diane (Deborah Bowman) and Nick (Steve Hudson), and the drive for better from Oz (Lowrey Brown) and Bob (Kyle Robert Carter). Together, the company creates a cohesive and deeply affecting portrait of the people of Gander.

Before the performance, I had the opportunity to speak with CSTC Executive Director Natalie DeLancey, who mentioned that the company was able to rent the national tour set for this production. She also spoke about how closely bonded the cast had become during rehearsals, something that proves essential for a show so dependent on ensemble chemistry. Watching them onstage, that camaraderie is unmistakable.

One of the evening’s most powerful moments comes during the song “Prayer.” With more than 16,000 people suddenly gathered in Gander from all corners of the globe, the scene reflects the diversity of faiths and traditions among them. As different prayers and languages overlap in song, the stage becomes a portrait of collective humanity. It’s one of the musical’s most poignant moments. In this production (at this time), it lands with breathtaking clarity.

As a reviewer, I usually try to identify at least a few elements that could be improved. But aside from a couple of brief microphone hiccups and the faint traces of opening-night nerves, there’s little to fault in this production. It is polished, heartfelt, and remarkably well executed.

More importantly, it captures exactly what makes COME FROM AWAY so special: its ability to make audiences laugh, cry, and feel hopeful—often within the span of a single song.

By the final bow, it was clear that this production had done something rare. It not only ranks among the strongest productions from City Springs Theatre Company, but it has also firmly cemented COME FROM AWAY as one of my favorite shows.