Interview: Director and Choreographer Keith Andrews On COME FROM AWAY at The Gateway Playhouse

The Gateway Playhouse is bringing the Tony Award-winning musical COME FROM AWAY to Bellport as part of its 77th season, with performances running August 7 through September 6, 2026. The show tells the remarkable true story of nearly 7,000 airline passengers who were unexpectedly stranded in the small town of Gander, Newfoundland, after U.S. airspace closed on September 11, 2001. Rather than focusing on the tragedy itself, the musical celebrates the extraordinary kindness, compassion, and generosity shown by the people of Gander during a time of uncertainty, told through an ensemble cast portraying dozens of real people and a score that combines Celtic, folk, and contemporary influences.

Directing and choreographing the production is Keith Andrews, a New York City-based director and choreographer whose credits include the National Tours of THE FULL MONTY and HELLO MUDDAH, HELLO FADDUH, and the regional premieres of ROCK OF AGES, THE WEDDING SINGER, SPAMALOT, and DIRTY ROTTEN SCOUNDRELS. His 2015 production of DIRTY ROTTEN SCOUNDRELS at the New London Barn Playhouse won six New Hampshire Theater Awards, including Best Director, Best Choreographer, and Best Musical. He also directed the world premiere of COLD AS ICE, the first book-musical performed entirely on ice, and has directed and choreographed two productions of the STARS, STRIPES AND SKATES benefit supporting survivors and families directly affected by 9/11.

As a performer, Andrews has toured nationally and internationally with WEST SIDE STORY, MAME, JESUS CHRIST SUPERSTAR, THE GOODBYE GIRL, THE PHANTOM OF THE OPERA, SEVEN BRIDES FOR SEVEN BROTHERS, and THE RADIO CITY CHRISTMAS SPECTACULAR.

BroadwayWorld spoke with Andrews about Long Island's personal connection to September 11, the unique challenge of a show where choreography and staging are one and the same, and why he believes COME FROM AWAY is not actually a 9/11 musical.

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What was it about COME FROM AWAY specifically that made you want to bring it to The Gateway Playhouse?

COME FROM AWAY is a story about the best parts of the human spirit and how people care for each other in the wake of a tragic moment in our history. I think everyone should see this show because we all need reminders in our lives that by being good people and caring for our communities, we can make the world a better place. The Gateway is a very special place for me and my family and for so many of the families and people on Long Island. I'm so excited to bring this deeply meaningful and important show to the Gateway community.

COME FROM AWAY is set in a small, tight-knit community that opens its doors to strangers in crisis. How does that theme connect to what The Gateway means to the Long Island community?

What's beautiful about COME FROM AWAY is that each of us has known our own version of Gander, the small town on the edge of Newfoundland where the show takes place. We see it in the streets of small Long Island towns like Bellport, home of The Gateway. We hear it in the local news, in town council and school board meetings, in coffee shops and restaurants and grocery stores where we get to know our neighbors. Small towns on Long Island are singular and full of local pride, and I know that The Gateway is so proud to be a family-run business in Bellport for the last 77 years and counting. I've been lucky enough to work at The Gateway during town celebrations for Bellport Day, the Fourth of July, and during the winter holidays, and the sense of community spirit in the air during those festive times is truly magical. We can create all the theater we want, but it needs an audience to come alive, and I'm so grateful that the small communities of Long Island celebrate and support live theater.

Long Island audiences have a deeply personal connection to September 11. How does that awareness shape the way you are approaching this production?

That is so true. So many people on Long Island have a personal connection to the events of September 11. Many of us lost family members, friends, or coworkers that day. Many of us knew some of the first responders who rushed to the scene. Many of us have a crystal clear memory of where we were and what we were doing that Tuesday morning and in the following days. It's hard to believe that it was almost 25 years ago when those memories feel so fresh after all this time. With this production, I invite all of us to lean into that personal connection and remember the way we came together as New Yorkers, and Long Islanders, in the days and weeks following the attacks. In these seemingly divided times, I hope this show can bring people together as a Long Island community and remind us of our shared humanity.

COME FROM AWAY uses a cast of twelve actors to portray dozens of real people. What is your directorial strategy for making each character instantly recognizable to the audience?

In my research for COME FROM AWAY, I learned that the twelve actors who make up the cast actually portray a total of 153 characters in the show! This is an amazing but daunting task for the actors and for me as the director. We use the tools at our disposal, including accents and dialects, body language, and various costume pieces to tell the story clearly. Our goal is for the audience to follow along with us every step of the way. The show itself has been so well crafted by the writers and original creative team that audiences can easily follow the fast pace and constant switching of characters. I look forward to working with the Gateway actors, creative team, and technical team to tell this complex and brilliant story.

How do you approach the choreography in a show where movement must simultaneously suggest airplane cabins, buses, town halls, and open fields with minimal scenery?

I've worked on hundreds of shows in my career as a director/choreographer, and one of the things that makes COME FROM AWAY completely unique and a very exciting challenge is that the choreography and staging are truly one. Our goal is to make the movement of actors and set pieces throughout the show completely seamless, so the audience can follow the journey to different locations as we tell the story. It's a wonderful challenge to use minimal scenery combined with movement to not just communicate what is happening moment to moment, but to invite the audience to connect to the characters' emotional journeys as the show moves forward. When the show is flowing, the audience is able to follow every step and enjoy the journey.

The Celtic and folk influences in the score are quite distinct from a traditional Broadway sound. How does that musical identity inform your staging and choreography choices?

I love the music in COME FROM AWAY! The Celtic and folk influences within the show authentically capture the feel of the Newfoundland community. Music and dance are such an important part of the culture. Not only is the folk sound of this score infectious, but it beautifully invites us into the location and the world of the show. As part of my preparation for the show, I have done a lot of research on Newfoundland movement and dance, so I can incorporate culturally true elements into the show to give it an authentic quality. The Celtic folk musical landscape, combined with a musical theatre sensibility, will bring energy and excitement that explodes off the stage so the audience can enjoy a full sensory experience of the show.

COME FROM AWAY never loses its sense of joy and humanity even while dealing with the weight of 9/11. How do you protect that emotional balance in rehearsal?

The best part about COME FROM AWAY, and what really makes the piece work, is that it is not actually a 9/11 musical. In fact, the writers have described it as a "9/12 musical." The events of 9/11 are what sets everything into motion, but the show is really a story about the resilience, humanity, and spirit of the community. In COME FROM AWAY, we see what humans do, and what we can do, after tragedy strikes. It's true, the show is so full of joy! Many of our actors remember the events of 9/11 very clearly, while others were too young or weren't even born yet. My goal as director is always to make the rehearsal space a safe haven for all. There are sure to be many emotional moments as we grapple with our heavy memories of 9/11, but the show itself will always bring us back to the joy, the hopefulness and resilience of the human spirit, and the reminder of how we can care for each other and make the world a better place.

The Gateway's intimate space seats audiences close to the stage. How are you using that proximity to deepen the audience's connection to the people of Gander?

When I put up a production, it's always my goal that the audience feels completely connected to the story and characters from the very first moment. Whether the audience has 100 people or 5,000 people, we all come to the theater to fully experience and immerse ourselves in the story, following the action and emotionally investing in the characters' journeys. With the audience in such close proximity to the action at The Gateway, I want them to feel as if they are not just watching, but are a part of the story. I hope the audience members will laugh and cry and be moved by this brilliant play, then leave the theater with renewed faith in each other and in the power of community.

The real people portrayed in COME FROM AWAY are still alive and their stories are well documented. How does that responsibility to real individuals influence your directing choices?

I think real people are the best source material for characters because we are all so complex and interesting. COME FROM AWAY is a unique show because it's based on interviews with real people who live in the town of Gander and who stayed there in the immediate aftermath of 9/11. The writers, David Hein and Irene Sankoff, did a terrific job of shaping these stories into a compelling, entertaining story that is true to history and also takes the audience on a satisfying journey. Research is a big part of my preparation for any show I'm working on. It's my responsibility to know the ins and outs of the world and the characters, whether fictional or based on real people and places. The writers made intentional storytelling choices, and as I always tell the actors I work with, our job is to bring their work to life and tell the story as clearly as possible, no matter the source material.

The Gateway employs around sixty theatre professionals for each MainStage production. How does having that full creative and technical team around you shape what you are able to achieve with this show?

The creative and technical team at The Gateway is one of the best in theater. Everyone works incredibly hard and throws their heart and soul into their creative work. Collaboration is key to my process. I always come into the rehearsal process with ideas of what I would like to see and how I'd like the story to come to life. The brilliant team at The Gateway works with me to bring my ideas to life, and each team member, actors, creatives, musicians, technical staff, and crew members, brings their own thoughts and ideas to the conversation to make the production even better. It's a joy to work with such creative and knowledgeable professionals.

With COME FROM AWAY opening in August 2026, just weeks before the 25th anniversary of September 11, do you feel a particular weight or responsibility attached to this production?

Very much so. The Gateway production runs until September 6th, only a few days before the 25th anniversary of 9/11. Memories of that day will surely be on many people's minds as the anniversary approaches, and it's sure to bring up complex feelings. I hope that our production of COME FROM AWAY can provide hope and catharsis for the Long Island community during this time. I hope we can look at the world together and realize that the most important thing is to help, love, and support each other. COME FROM AWAY offers audiences a belief in the resilience of the human spirit, and I don't think there is any better way to pay homage to the loss and grief of 9/11 than to acknowledge and celebrate our resilience as humans and our ability to care for one another in the darkest of times.

What do you hope audiences from Long Island and the broader New York metropolitan area carry with them when they walk out of The Gateway after seeing COME FROM AWAY?

I would love for audience members to leave the show feeling a connection to their community. When you get home from the show, call a friend or family member you haven't spoken to in a while. Tell someone you love them. Go out and perform a random act of kindness for someone in your community. Each of us can take action to make the world a better place. The message of COME FROM AWAY is that we truly need each other. We can build a better world by coming together as a community and caring for one another, because our shared humanity is what matters most.

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The Gateway Performing Arts Center of Suffolk County is one of Long Island's oldest professional producing theatres, celebrating its 77th season in 2026. Located in the historic hamlet of Bellport, The Gateway welcomes more than 80,000 audience members and students annually through its professional productions, arts education programs, and community initiatives.

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