REVIEW: Welcome home, Come From Away
iPhoto caption: Come From Away production still by Matthew Murphy.
Welcome home, Come From Away.
God, it feels good to write those words — for the Royal Alexandra Theatre to once more house Canada’s most prominent theatrical export. On the surface, not much has changed in Irene Sankoff and David Hein’s Tony Award-winning masterwork about a ragtag group of travellers who on September 11, 2001 found themselves stranded in Gander, Newfoundland.
But in the two and a half years since Come From Away’s last stint on King Street West, the show has continued to mature (and has even served as the inspiration for a certain doughnut-themed pastiche). A new production of the work has appeared in Newfoundland under the direction of Jillian Keiley; cast members from the show’s Broadway and Toronto runs have moved on to other projects; originating director Christopher Ashley has been named artistic director of Roundabout Theatre Company.
And of course, the earth has kept spinning: New global conflicts have emerged that once more make Come From Away feel like a salve for an aching world. “Prayer,” in particular, carries a new heft as its verses in Arabic and Hebrew intertwine in satisfying harmony.
Evolutions in casting have paved the runway for standout performances; Cailin Stadnyk, whose previous time with Come From Away was spent as a standby in Toronto and on the first national tour, is marvellous as Captain Beverly Bass. “Me and the Sky” is a hard sing, with several belted D-flats on tricky vowels, and somehow Stadnyk makes it sound easy.
Other familiar faces make Come From Away feel like a joyful reunion; Steffi Didomenicantonio’s Janice is as bright as ever, and Barbara Fulton and James Kall are a pleasure to watch as their characters sputter and flirt. Saccha Dennis is another highlight as she reprises Hannah, the mother unsure of her firefighter son’s status in New York; her “I Am Here” is deeply felt and perfectly sung. There’s a pleasant, nostalgic edge to seeing Come From Away age alongside its cast and creative team: As actors, still playing the same roles after a decade, get older, so too do their characters, making them feel lived-in and real.
And it wouldn’t be Come From Away without a raucous, mischievous band led by Bob Foster — the unmitigated glee when the musicians come onstage during the Screech-In ceremony and bows is palpable.
If, as a Toronto theatre fan, you’ve managed to get this far without seeing Come From Away, I’m honestly a little impressed; but seriously, now is the time to head downtown and see what the hype’s been about (same-day rush tickets start at $49). This cast is superb, and Come From Away only seems to become more timely as the years flit by. It’s hard to believe that the 20-year anniversary of 9/11 has come and gone, and that the real-life events behind the show’s epilogue occurred nearly 15 years ago; it’s harder still to comprehend just how beautifully Come From Away has evolved.
So yes: Welcome home, Come From Away. We’ve been waiting for you.
Come From Away runs at the Royal Alexandra Theatre until March 2, 2025. Tickets are available here.
Aisling Murphy
Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the New York Times, Toronto Star, Globe & Mail, CBC Arts, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
LEARN MORE
iPhoto caption: Photo by Curtis Perry.
REVIEW: GCTC’s Beowulf in Afghanistan blends legend and modern heroism
Beowulf in Afghanistan, directed by Kate Smith, goes beyond simple plot in its exploration of what makes a hero, as well as the aftermath of violence.
iPhoto caption: Charlie and the Chocolate Factory production still by Dahlia Katz.
REVIEW: YPT’s Charlie and the Chocolate Factory is appropriately sweet
Director Thom Allison’s production embraces Charlie’s many incarnations and tones in a slick rendition that’s both fun sugar high and candy overload.
iPhoto caption: The Lion King production still by Matthew Murphy/Disney.
REVIEW: The Lion King offers audiences a cat’s-eye view of sensory delights
Twenty years after The Lion King’s last open-ended Toronto run, Julie Taymor’s directorial and design concepts remain Pride Rock-solid, spilling out from the stage into aisles, balconies, and above the crowd.
iPhoto caption: A Case for the Existence of God production still by Cylla von Tiedemann.
REVIEW: A Case for the Existence of God makes meaning of platonic intimacy
The play’s urgency and strength come from the gentle way it presents male vulnerability and platonic intimacy — for lack of which men may burn themselves, or the rest of us, to the ground.
iPhoto caption: Photo by Mathieu Taillardas.
REVIEW: Feu Mr. Feydeau! takes charming liberties with a famous playwright’s life
Feu Mr. Feydeau! is an effortlessly enjoyable historical fantasy that takes on death, the creative act, and life's bittersweet disappointments.
iPhoto caption: Dead Broke production still by Calvin Petersen.
REVIEW: Comedy-horror hybrid Dead Broke successfully spooks
While the non-horror aspects of the show lean towards the more amateur, the scares are incredibly successful. This show pulls off the theatrical horror with seeming ease: That’s reason enough to check it out for yourself.
iPhoto caption: J. Kelly Nestruck headshot courtesy of The Globe and Mail.
An exit interview with Globe and Mail theatre critic J. Kelly Nestruck
J. Kelly Nestruck has left the building. (Or at least the aisle seat.)
iPhoto caption: Photo of Annemieke Wade courtesy of TAPA.
TAPA appoints Annemieke Wade as new executive director
Wade steps into the position with an extensive background in theatre, with past roles including executive director of Roseneath Theatre and Theatre Direct and company manager of Tarragon Theatre.
iPhoto caption: Beowulf in Afghanistan graphic courtesy of GCTC.
Beowulf in Afghanistan to make world premiere at GCTC
As part of its 50th anniversary season, Ottawa’s Great Canadian Theatre Company will program the world premiere of Laurie Fyffe’s Beowulf in Afghanistan, in a production directed by Company of Fools artistic director Kate Smith.
iPhoto caption: My Name Is Lucy Barton production still by Dahlia Katz.
REVIEW: Maev Beaty sparkles at the centre of a sparse My Name Is Lucy Barton
In Rona Munro’s adaptation, My Name Is Lucy Barton loses some bite; it’s debatable how well the idea works as a piece of theatre. That said, Beaty gleams in a rousing solo performance that showcases her range and emotional depth.
iPhoto caption: Interior Design production still by Jae Yang.
REVIEW: Interior Design sparkles with zillennial wit
Interior Design watches its Peloton-using, social media-obsessed heroines from an empathetic vantage point, holding space for these women and their problems.
UnCovered returns to Musical Stage Company with U2 and the Rolling Stones
“What you see in the audience is really the tip of a very long collaborative iceberg,” says Wong, artistic associate at Musical Stage Company and arranger, orchestrator, and music supervisor for UnCovered. “It’s a really diverse cast of voices and styles, and they’re all bringing their A-game. It’s starting to get really exciting in the room.”
Comments