The compassion and generosity of Gander shine again as OSMaD presents a cleverly conceived, emotionally resonant new production of Come From Away.

Since its 2017 Broadway premiere, Come From Away has been embraced around the world, its vibrant message of universal love and unconditional acceptance celebrating the very best of humanity. With the original staging having been seen three times at Melbourne’s Comedy Theatre, it is refreshing indeed to welcome this fresh production.

When US airspace was closed on September 11, 2001, some 7000 international passengers were diverted to Gander, on the Canadian island of Newfoundland. Having interviewed Gander residents and many of the “Come From Away” passengers, Irene Sankoff and David Hein crafted the book, music, and lyrics for the musical, with much of the text made up of stories and direct quotes.

In a strong sign of the passion underpinning this season, director Daragh Wills visited Gander this year, sharing charming photos in the program of their meetings with residents who are the basis for characters in the musical. 

Bringing the breathless 100-minute musical to life won Christopher Ashley the 2017 Tony Award for Best Director. Ashley’s original direction is as intrinsic to the original production as the book and score, so it is a game artist who would make a new approach. It is very pleasing to note that Wills’ confidence, preparation, and insight pay off handsomely, with the musical soaring anew under a new lens.

Wills balances both extremes of the action, delivering ebullient highs and moving pathos. In particular, the accomodation of religious practices in the “Prayer” sequence is beautifully handled.

Working with set designer Merinda Gallagher, Wills has conceived a production where the joyful musical plays out in the shadows of the wreckage of the World Trade Centre. This vision reaches a brilliant and moving finale at the recreation of the donation of a piece of steel from one of the buildings to Gander. 

With the band upstage, Wills often has the characters approach the footlights, forging a strong bond with the audience. The terrific band of eight musicians is well respected within the staging, joining the actors in a semicircle to begin the performance, appearing centrestage during “Screech In,” and taking part in the curtain calls. Music director David Barrell has assembled a team of talented musicians, all uniquely capable of playing the quirky instruments required for the orchestration. Instrumental and vocal music are prepared to the highest standard, allowing the rollicking score to be enjoyed at its best.

Also acting as choreographer, Wills uses chairs and two mobile stair units to create a plethora of locations including buses and planes. An overhead bank of television units displays atmospheric visuals, designed by Chris Anderson, as well as displaying a live feed from rookie reporter Janice. There is a moment when the newly arrived passengers first see the news and realise what has happened, but the production respectfully does not show actual news footage in this moment.

Costume designer Laura de Iongh provides naturalistic outfits that allow the actors to flip between characters with deceptive ease. Another feature of Wills’ direction is the impeccable level of detail in the accents, and this also facilitates clear distinction of the cavalcade of characters. 

With all 12 members of the terrific ensemble cast giving their all to the performance, it is difficult to pick out highlights. To give just a couple of mentions, Jenn Biggs exudes palpable warmth as Gander primary school teacher Beulah, Marina Martin captures the fearless devotion of Texan pilot Beverly, and Megan Coe and Adam Kirk win hearts as romance blossoms between Texan traveller Diane and conservative Brit Nick. 

Sure to win new fans for the musical, this welcome season of Come From Away also provides a chance for existing fans to enjoy the work with a new perspective.

Come From Away plays at Geoffrey McComas Theatre, Scotch College, Hawthorn until 13 December 2025. For tickets, click here.

Photos: Ken Spence