Love thy neighbor. The world is my family. Do unto others. Despite all our differences … dang, there are moments when we really do get it right.
If you’ve glanced at our September calendar of theater events, you may be thinking to yourself, “Why on earth are there so many productions of Come From Away being done in the region? Is it really that good of a show?”
I’d venture to say, why yes, it is! Especially during a time when feeling divided seems to be the norm, this powerful musical is a treasure. A song of celebration. And a balm for broken hearts.
Come From Away, which enjoyed a four-year run on Broadway between 2017 and 2022 (with an interruption during Covid), was nominated for nine Tony Awards, won three Olivier Awards, and enjoyed extended professional tours. But the reason for its local explosion? The licensing rights for this play were recently made available to amateur theater companies. Three regional community theater productions—in Coralville, Ottumwa, and Des Moines—will open their shows on September 11, with a Keosauqua show soon to follow.
Maybe you know the story, but if you don’t: The musical Come From Away depicts a remarkable occurrence that took place in Gander, Newfoundland—an island on Canada’s east coast—in the immediate wake of the September 11th attacks in 2001. When 38 planes were ordered to land unexpectedly at Gander International Airport upon the sudden closing of U.S. airspace, 7,000 passengers touched down, essentially doubling the population of this tiny Newfoundland town. Come From Away tells the stories of the residents, overwhelmed but doing their best to house and feed thousands, as well as stories of the passengers stranded in a strange place, away from loved ones, as the tragedy continued to unfold a thousand miles away.
“When I mentioned it to family members who are not theatergoers,” says Elizabeth (Liz) Tracey, who will be directing the show at City Circle Theatre Company in Coralville, “they were like, why would anyone do a show about 9/11? That doesn’t sound like fun.” Incidentally, Tracey had a lot of family members living in New York during the attacks. “Then when I tell them about Gander, they’re like, ‘I didn’t even know this.’ It’s not just a New York story. It’s a world story. Which, I hope, with the attention of this musical, that maybe it’ll get out there.”
So what is this musical’s unique 9/11 tale? In a nutshell, take a culturally diverse group of passengers from around the world, mix them into a small town that embraces strangers as warmly as an Irish pub, set it against a backdrop of heart-thumping Celtic music no less, and you’ve got a musical that parallels a global tragedy with stories of hope, humanity, and humor. Compassion, cooperation, and after a few short days, deep connection.
Iowa’s Take
Sharing this particular tale continues to be a profound experience for both audiences and players.
“There are a number of titles that we keep an eye on,” says Katy Merriman, artistic director for Des Moines Playhouse. “But also sometimes there is a story that aligns with an anniversary year, and it’s the 25th anniversary year of 9/11.”
Jeff Leonard, director for Ottumwa Community Players, saw the Broadway touring production when it came to Des Moines and was keeping a watchful eye as well. “I am a huge fan,” he says. “When we got the alerts that the show was available, we thought, well, there’s no way that we’ll be able to get the rights to do this on the 25th anniversary, but we were approved almost immediately.” The Ottumwa show is being produced in partnership with Indian Hills Performing Arts and Ottumwa High School—a whole-community effort.
Conceived by Toronto-based theater producer Michael Rubinoff, the play’s book, music, and lyrics were later developed by husband-and-wife team Irene Sankoff and David Hein, who visited Gander on the tenth anniversary of the attacks and spent almost a month interviewing the town’s residents. Before opening on Broadway, the play spent years being workshopped, developed, and toured in its various iterations, but one thing remained true: “Everything that happens in the show is based on a real event in Gander,” said co-writer David Hein in an interview he gave when the Broadway production launched. And every character you see was also inspired by a real interview, or several interviews, as the case may be. “Janice Mosher, for example, our reporter character, is a combination of Brian Mosher [of the Gander Beacon] and Janice Gowdy [of Rogers TV],” Hein explained. When you’re cramming dozens and dozens of remarkable tales into 12 roles, you have to get a little creative!
The Ensemble
Narrowing the play down to a dozen actors is part of what makes Come From Away a particularly dynamic theater experience—and so much fun to watch.
“I love it because it really relies heavily on the performers and their ability,” says Merriman in Des Moines. “They’re on and off stage pretty much continuously—in constant motion—and they’re even changing within a scene and playing another character. So they have to be agile, and it takes a lot of repetition.”
To add to the intensity, the Des Moines Playhouse set design largely comprises moveable chairs and planks, Merriman tells me, “so the actors are also manipulating those and building the different locations we go to.” Stripped-down, very hands-on theater. “It’s a total ensemble piece,” she says.
“I’ve probably prepped more for this show than I have as a director for any show that I’ve done,” says Tracey at City Circle. “When people see it, it almost feels simple because it moves very quickly, and the actors just keep you engaged and going. But the challenge is getting those 12 characters to do all the things that I want them to do, and make it fluid so it doesn’t interfere with the flow of the music. The pacing of the show is a roller coaster, it’s nonstop. I even had one of the actors say to me, ‘This is the most exhausting show I’ve ever been in. We never get a break,’” says Tracey. “But we all feel so honored for the material, the quality of the writing, the absolutely gorgeous music, that there’s this level of respect, you know, and it just reminds me of the people of Gander—this whole ‘I’m willing to do 110 percent to make this happen. Give my best.’”
The town of Gander—and the show—is a melting pot of cultures and dialects. So on top of an ensemble in constant motion, imagine adding different accents. Mary Rinderspacher, who lives in New York, is the dialect coach for City Circle and has been spending invaluable one-on-one time with each actor over Zoom.
“The hardest part is the switch,” says Tracey. “You have maybe one line, and then you’re switching to another character with the other accent. That’s really hard to wrap your head around! Everything is about muscle memory and time is always against you.
“And all the actors have full-time jobs during the day,” she adds. “That’s the amazing thing with community theaters—the dedication in overcoming what they do in their day job!”
Global Story, Global Characters
Having worked with several theater groups in Southeast Iowa, I know firsthand the challenges of finding the cast you need—especially if the play requires a demographically diverse ensemble.
“We had a little trouble in casting in general, and had to extend our auditions by two weeks,” explains Jeff Leonard in Ottumwa. “But in the end, we found a great group.” That said, Leonard had to get very flexible when it came to the ages, races, and genders of his actors. “We have a female playing one of the Kevins,” he explains. “Also, we’re going in a much younger direction with our Nick and Diane characters. We’re making it work. And the authors gave us some guidance on potential script changes, so we used some of those.”
“The show is written for a diverse cast,” says Kathleen Paulek, who will direct Van Buren County Players’ February 2027 production in Keosauqua. “And we certainly don’t have that in Van Buren County, so we’ve got to reach out! We are especially looking for two Black actors—one male, one female—and a Middle Eastern actor, if at all possible. That’s going to be our challenge when we hold auditions this December.” (More on that later!)
Hope & Humor
If you’re still wondering why you’d want to revisit such a dark time in recent history, rest assured this musical serves up a rich feast of flavors, including comedy.
“It’s such an emotional show, but it’s a very funny show!” says Leonard. There’s a moment, for instance, when the Gander town mayor, who is struggling to keep thousands of visitors housed and fed, instructs them to “just go to people’s houses and take their grills!” laughs Leonard. “He literally tells them to steal barbecues out of his own residents’ yards.” Not only that, but the Gander townspeople themselves begin helping with the thievery. “The way our actors do it, it’s just hilarious!”
Another of Leonard’s favorite moments involves “the Kevins,” a resident and a “plane person” both named Kevin. “Kevin and Kevin are in the pub,” says Leonard. “And word is starting to get out in Gander that the Kevins are in a relationship.” A reflection of the oft shockingly friendly nature of the people in Gander, “all these people start coming forward, saying things to them like, ‘Well, you know, my sisters are bisexual’ and on and on, and the Kevins begin thinking, ‘Oh my God, we ended up in the gayest town in Newfoundland!’”
Without giving away too many spoilers, I’ll add my own favorite line to the mix, delivered by a Gander resident embracing the full spirit of hospitality: “Thank you for shopping at WalMart. Would you like to come back to my house for a shower?”
Friendships that Last
Many of the bonds that formed over those few days still hold among the people this musical depicts—Hannah and Beulah, for instance, real people whose sons are both firefighters.
“Hannah’s son was in New York on 9/11 and Beulah’s son lives in Gander,” says Merriman of Des Moines Playhouse. “The moms became friends and stayed friends. Even after everything. For the many difficult and horrible things that happened during 9/11, I think there are equally as many really beautiful things that came out of it. Everyone affected each other and left a little part of themselves with the people that they met. That is a driving message that I’m approaching the show with.”
“There are so many different storylines and friendships we get to follow,” she adds, “but my favorite moments in the show are always when everyone is out there on stage and are most connected with each other.”
Celtic Music & Culture
Truth be told, Newfoundland is often referred to as “the most Irish place outside of Ireland,” a result of heavy Irish immigration to the area in the 17th and 18th centuries. This show’s Celtic-inspired score is an integral part of the magic.
“The moment that makes me want to just jump up on the stage and join in—you almost feel envious it’s so fun—is the pub scene,” Liz Tracey of City Circle tells me. “We have the musicians on stage, but they actually join the cast, and it makes you wish you were up there drinking with them. With the roller coaster ride of emotions that you go through, you need that moment more than anything! I dare the audience not to be pulled in.
“They call it folk music, but it’s a Celtic sound to be sure. It just makes you feel so good. I lived in Ireland when I was younger,” she adds, “and it reminds me a lot of Irish culture.”
“We did the musical Once a few years ago,” says Merriman, “and we met a lot of local musicians who play Irish and Celtic music, so we have a really lovely group of instrumentalists who are playing live. They’ll be seen as part of the backdrop throughout the show.”
And as with most musicals, of course there is dancing. “Part of the license we were given,” says Leonard of Ottumwa, “is access to essentially the Broadway choreography. And so we’re using some elements of that, and then we’re going off on our own as well.” Leonard is also excited about the multimedia elements they are incorporating to “enhance some of the emotional responses that we know we’ll get.”
Away … in Iowa
I hope you’ll catch the Come From Away wave and grab tickets to one or more of these fabulous shows. Maybe you’ll get inspired to be part of a future production—either in your town or someone else’s.
“What we’re really proud of is we’re not just an Ottumwa production company,” says Leonard. “We pull in residents from all over the Southeast Iowa area. We have people from Bloomfield, Fairfield, Knoxville. We have one actor who drives down from Pleasant Hill. We all ‘come from away.’ We all have our own backgrounds and stories and so do ‘the plane people.’ They’re dropped into a remote location and they’re from all walks of life.”
If you’d like to “drop into a remote location” sooner rather than later, consider auditioning for the Van Buren County Players this December. “We’ve been doing lots of children’s theater,” says director Kathleen Paulek, “but I’ve got a lot of people who’ve said, gosh, it’s time to do an adult show. And I’m ready!”
It will be Van Buren County Players’ 67th production, and Paulek has assembled an awesome team. “I’m co-directing with John and Autumn Calahan,” she says. “He’s going to be the music director, they’re both going to help with dialects, and she’ll help with choreography.” And Jim Edgeton of Fairfield will be leading the band.
The Van Buren County Players is seeking a racially diverse ensemble of 12 to 20 performers, from high school to adult ages, as well as instrumentalists for the onstage Celtic folk and rock band. They’re also looking for help with set design, in case your skills lend themselves more to a behind-the-scenes role. Auditions will be held this December in Keosauqua, and production dates are February 26–28, 2027, at the Roberts Memorial Center. Watch their Facebook page for updates, or contact Kathleen Paulek at (319) 288-0749.
“The thing that I’ve noticed with this show,” says Paulek, “and I’ve seen it now several times, is that when it’s over, there’s really not a dry eye in the house. There are just so many ways it can touch people. It really does strike home.”
See Come From Away in Ottumwa September 11–13, in Coralville September 11–20, and in Des Moines 11–October 4.
