Review: Vibrant New Production of COME FROM AWAY Debuts at La Mirada

The idea of empathy and kindness given freely and without any hesitation towards total strangers feels like such a foreign concept nowadays. These days, it just seems easier—heck, maybe even safer—not to engage at all, or, perhaps, relegate our discourse online (if such things are even allowed anymore by the time this review goes to press) to abandon our humanity in favor of screaming ideologies across the virtual aisles. 

But back in September 11, 2001—a day that has since become etched in history as a time of horrible tragedy but also of remarkable heroism—one small Canadian island community stepped up to demonstrate these very now seemingly antiquated concepts, offering unfettered, unbiased kindness towards fellow human beings by welcoming thousands of stranded, confused travelers from around the world with open arms and open hearts to their little pocket of safety and genuine goodwill. 

Amongst the plethora 9/11 stories of brave first responders rushing into collapsing buildings or of the many ordinary, everyday heroes who prevented another plane from creating more devastation, there was one particular set of stories that didn't get much attention at the time, but eventually—once word got out about what happened within a span of a very interesting week—has become one of the few touching, bright spots that took place in the middle of such unbelievable sadness.

Naturally, many of the real life stories that occurred here have been gathered up to be the subject of an appealing, smile-inducing 2017 stage musical entitled COME FROM AWAY, with book, music, and lyrics by Irene Sankoff and David Hein. 

Rather than focus on the horrors and tragedy of 9/11 itself, COME FROM AWAY instead celebrates humanity, kindness, and the sense of community forged out of such a crisis. Told through ensemble storytelling, Celtic-inspired folk-rock music, and swift (but notably distinct) character shifts by a small cast, the show paints a moving, uplifting portrait of resilience and generosity borne out of an extraordinary moment in history.

The resulting show eventually became a Tony Award-winning critical and box office Broadway hit that has consistently been a crowd-pleaser with every new production that gets mounted around the world. The live production has even been immortalized as a live-captured film that can be streamed on Apple TV Plus. 

Locally, the show's well-liked first national tour production has cycled through both Los Angeles and Orange County a few times over the past few years, bringing with it its winning message of hope and humanity—continuing to serve as a visual and musical reminder about the power and lasting impact of expressing unrestrained goodwill.

To see such behaviors and messaging dramatized in a stage musical now more than ever can only be described as endearingly wholesome and as comforting as a warm embrace.

And that beautiful message is alive and well once again in a brand new, non-replica regional production of the musical now being presented by McCoy Rigby Entertainment at the La Mirada Theatre for the Performing Arts. Energetically directed and choreographed by Richard J. Hinds, this superb, rather enjoyable new Broadway-caliber production—restaged and reimagined with a gorgeous new set designed by Nate Bertone—will continue to wow audiences in Southern California through October 12, 2025.

Yes, Bertone's set (on loan from the Ogunquit Playhouse) is a visual wow upon entering the theater even before the show begins, mostly because it is such a stark contrast to the previous intentionally-minimalist scenic designs of the original iterations of the show. Here, the set does a lot of the talking for the characters, too—which, surprisingly, can be both illuminating and, at times, confounding. But, not to worry… the complexity of figuring out which character a given actor is currently playing is pretty minimal, mostly because the production's assembled cast of actors is a phenomenal, talented bunch, creating the necessary distinct performances that are a must for a musical that doles out dozens of various characters within a span of seconds, requiring that each be as discernible as possible between one another.

While I do feel previous stagings made it every-so-slightly more clear who is portraying who, the production is still quite laudable in its gargantuan efforts to bring these varying stories to vivid life (admittedly, I was also mildly and occasionally distracted by one of the main actors who, I swear, is the long lost twin of actor Timothée Chalamet).

Based on actual events—and several of the people who lived through them—COME FROM AWAY revisits several criss-crossing stories that occurred during the week of September 11, 2001, when 38 planes carrying nearly 7,000 passengers were unexpectedly diverted to the small town of Gander, Newfoundland, immediately after U.S. airspace was closed as a reactionary result of the tragic events that happened in New York and Pennsylvania.

Over the course of five very long days, the townspeople of this tiny, tight-knit Canadian island willingly opened their homes, schools, and hearts to the stranded travelers—providing food, shelter, comfort, and compassion during a time of global fear and grief. Along the way, both sets of strangers surprise each other—in mostly wonderful, life-changing ways.

During the course of its intermission-free running time, the musical highlights real-life characters and their distinct stories, which include composite portraits of Hannah (the incredible Krystle Rose Simmons) an anxious mother awaiting news of her unresponsive firefighter son in New York, who also finds kinship with a fellow local mom, Beulah (Maura Vincent); there's also Brit Nick and Texan Diane (Kent M. Lewis and Gwen Hollander) a pair of passengers who find unexpected romance during their unexpected detour; the two Kevins (Steven-Adam Agdeppa and Hayden Kharrazi), a pair of boyfriends at the tail end of their relationship; Captain Beverley Bass (a terrific Misty Cotton), a trailblazing American Airlines pilot facing her toughest assignment yet; and Bob (scene-stealing Clinton Roane), a skeptical, cautious traveler pleasantly surprised by Canadian hospitality. 

And, of course, several Gander locals are also featured, who rise to the challenge of caring for these diverse set of strangers who, as they say, have "come from away." Standouts include TV reporter Janice (Katrina Michaels) a young newbie who is the first on-scene at Gander during the crisis; Bonnie (Angela Chatelain Avila), who runs Gander's SPCA animal shelter who makes it her mission to care for the stranded animals on the planes; and, of course, Mayor Elliot (Andy Umberger) along with constable Oz Fudge (Erich Schroeder) who try to manage this unexpected influx of new temporary residents of their small town.

Overall, this fresh new take on COME FROM AWAY may visually look different, but it still exudes a joy and pleasantness that few musicals are able to achieve with such ease, thanks to its uplifting, likable characters and the uplifting, inspiring moments they present.

Of course, COME FROM AWAY stands apart from most 9/11-related works by deliberately shifting the lens away from the tragic events that happened simultaneously in New York, Washington, and Pennsylvania, and instead chooses to spotlight the extraordinary acts of kindness that is, apparently, embedded into the DNA of the citizens of Gander, Newfoundland. This smart, artistic choice makes the show feel both universal and deeply human, emphasizing the importance of connection and empathy in the face of global crisis.

One of its most striking features is its ensemble-driven storytelling. This 12-member cast plays dozens of distinct characters—residents, airline passengers, pilots, and officials—seamlessly shifting identities with minimal costume changes and simple set pieces that work, for the most part. This kind of criss-cross staging and theatrical trickery underscores the show's themes of collective humanity and shared responsibility—a far cry from other shows that seek to solely elevate individual "heroes."

Musically, Sankoff and Hein's score—here sounding awesome thanks to its on-stage band that also includes the acting assemble as well, all under the musical direction of Sam Groisser—blends Celtic, folk, and rock influences that, some may argue, accurately reflect Newfoundland's culture, adding much authenticity to the locale and the storytelling. The cast playing their own instruments certainly adds to the show's communal unity.

Songs like the rousing opener "Welcome to the Rock," "Somewhere in the Middle of Nowhere," and Captain Bass' "Me and the Sky" (sung beautifully by Cotton) are all infectious and poignant, capturing the vibrant, real-life energy of the community while giving space for deeply personal narratives. The music—often driven by percussive rhythms and traditional instruments—helps propel the story forward with urgency, but pauses for brief moments of warmth. Hinds' choreographed movements, whether joyful and celebratory or moody and introspective, further hammer home these motifs with artistic yet still relatable qualities.

Thematically, the show balances light and dark in such a nuanced way that prevents it from feeling too heavy-handed or exploitive—providing a platform to showcase the fear and grief of stranded passengers alongside moments of humor, love, and hope in equalized doses, allowing audiences to empathize and experience communal catharsis. By using relatable and approachable small, intimate stories—such as a budding romance, an anxious mother's wait for news, or the hospitality of locals—COME FROM AWAY feels grounded in authentic emotion. 

It's a musical that easily fosters a safe community space while offering up a powerful, deeply-searing message that stays with you long after you've made your departure. Funny, touching, celebratory, appropriately honorable, and musically endearing, this and likely future well-made productions of COME FROM AWAY will remain an awe-inspiring theatrical testament to compassion, and will forever remind us that even in the shadow of horrific, unbelievable devastation, humanity's capacity for kindness and generosity can—and should—take center stage.

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Photos by Jason Niedle / TETHOS courtesy of La Mirada Theatre for the Performing Arts.

Performances of the McCoy-Rigby Entertainment production of COME FROM AWAY at The La Mirada Theatre for the Performing Arts continue through Sunday, October 12, 2025. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

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