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: Photographed productions from L to R, top to bottom, with the photographer in brackets: seven methods of killing kylie jenner (Dahlia Katz), Big Stuff (Dahlia Katz), De Profundis (Dahlia Katz), Goblin:Macbeth (Jae Yang), Salesman in China (David Hou), Dana H. (John Lauener), Earworm (Dahlia Katz), Age Is a Feeling (Dahlia Katz), Honey I’m Home (Eden Graham).
Our favourite theatre productions of 2024, in Toronto and beyond
End-of-year lists are personal. When it comes to theatre, the question isn’t really what shows you liked most, but which ones left the strongest imprint, continuing to pinball around in your mind and heart even after the set is gone and the cast no longer recalls their lines.
iPhoto caption: A Christmas Story production still by Dahlia Katz.
REVIEW: A Christmas Story feels fresh at Theatre Aquarius
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.
iPhoto caption: Photo by Danelle Jane Tran.
REVIEW: Yes, Holiday! An Improvised Musical really is different every night
Putting aside its opening number and a single proper noun, every word of Bad Dog Theatre’s Dora Award-nominated Holiday! An Improvised Musical has the potential to change from performance to performance.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Canadian Stage revives the Ross Petty panto with pop songs, puns, and a pinch of Ozdust
Making a case for the panto’s return, The Wizard of Oz is full of local references and charm, and perhaps even some surprise guests to fill audiences with hometown pride.
iPhoto caption: Photo by Marie-Andree Lemire.
REVIEW: Titaníque loves Céline Dion with all its heart
Content quibbles aside, Titaníque’s inarguable accomplishment is musical: What an amazing showcase for a Canadian cast’s vocal chops and capacity to deliver character through song.
iPhoto caption: Photo by Ben Laird.
REVIEW: Twelve Days brings Christmas joy to lunchtime in Calgary
Watching Twelve Days is reminiscent of opening up the door to a chocolate advent calendar: yes, you know what you’re gonna get, but heck if you don’t enjoy every second of it.
iPhoto caption: A Christmas Story production still by Dahlia Katz.
REVIEW: A Christmas Story feels fresh at Theatre Aquarius
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.
iPhoto caption: Madame Minister production still by Dahlia Katz.
REVIEW: Madame Minister is a star vehicle for actor Laura Condlln
Laura Condlln and Cyrus Lane offer performances that are worth the drive to Barrie — the two have terrific chemistry and timing.
iPhoto caption: Production still courtesy of The Bee's Knees.
REVIEW: The Bee’s Knees falls short of its timely premise
The Bee’s Knees might evolve into a stronger project down the line, but at present, the play and production feel swept away by the spangled allure of the 1920s setting.
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.
Comments