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Musical first produced in 2013 From Wikipedia, the free encyclopedia
Come from Away is a musical, with book, music and lyrics by Irene Sankoff and David Hein. It is based on the events in the Newfoundland town of Gander during the week following the September 11 attacks, when 38 planes, carrying approximately 7,000 passengers, were ordered to land unexpectedly at Gander International Airport. The characters in the musical are based on actual Gander residents and stranded travelers they housed and fed.
| Come from Away | |
|---|---|
| |
| Music | Irene Sankoff David Hein |
| Lyrics | Irene Sankoff David Hein |
| Book | Irene Sankoff David Hein |
| Productions | 2017 Broadway 2018 North American tour 2019 West End 2023 US non-equity tour 2024 UK tour |
| Awards | Drama Desk Award for Outstanding Musical Drama Desk Award for Outstanding Book of a Musical Laurence Olivier Award for Best New Musical Laurence Olivier Award for Outstanding Achievement in Music |
After having record-breaking runs at the La Jolla Playhouse in San Diego, California, the Seattle Repertory Theatre in 2015, the Ford's Theatre in Washington, D.C., and the Royal Alexandra Theatre in Toronto in 2016,[1] it opened on Broadway at the Gerald Schoenfeld Theatre on March 12, 2017 and became a critical and box office success. A live recording of the production was released on September 10, 2021, on the eve of the 20th anniversary of the attacks. The Broadway production closed on October 2, 2022 after playing 25 previews and 1,669 regular performances.[2]
The musical premiered at The Abbey Theatre in Dublin, Ireland, in December 2018 and then transferred to the Phoenix Theatre in the West End in February 2019.[3] The London production closed on January 7, 2023.[4]
At the 71st Tony Awards in 2017, the musical was nominated for seven awards, including Best Musical, Best Original Score, Best Book of a Musical and Best Featured Actress in a Musical for Jenn Colella, winning for Best Direction of a Musical for Christopher Ashley.[5]
The show was conceived by Michael Rubinoff, a Toronto lawyer, theatre producer, and Associate Dean of Visual and Performing Arts at Sheridan College in Oakville.[6] After approaching various writing teams about the project, Rubinoff attracted Irene Sankoff and David Hein,[6] whose work he knew from their 2009 musical My Mother's Lesbian Jewish Wiccan Wedding, which was a hit at the Toronto Fringe Festival and later picked up by Mirvish Productions.[7]
In 2011, Sankoff and Hein visited Gander on the tenth anniversary of the attacks to interview locals and returning passengers.[6] The couple translated some stories directly to the musical while others were merged for story purposes. Rubinoff used their initial script to produce a 45-minute workshop version for the Canadian Music Theatre Project, part of the Sheridan College Music Theatre Performance Program, in 2012. The workshop was sufficiently successful that Rubinoff invited Sankoff and Hein to finish writing it for a full production at Sheridan in 2013, as part of the college's regular theatrical season. The full production, directed by Brian Hill, was an artistic success, but Rubinoff was unable to attract a Canadian producer for further development.[7]
In the meantime, Goodspeed Musicals of East Haddam, Connecticut, included the show in its Festival of New Musicals.[6] The National Alliance for Musical Theatre in New York selected it as a showcase presentation in fall 2013, where a performance, also directed by Brian Hill, led to the show being optioned by Junkyard Dog Productions, the production company behind Memphis and First Date.[7][8]
On the morning of September 11, 2001, the townsfolk of Gander (including Claude the mayor, Oz the police constable, Beulah the teacher, Bonnie the SPCA worker, and others) describe life in Newfoundland and how they learn of the terrorist attacks taking place in New York City, Washington, D.C., and Shanksville, Pennsylvania ("Welcome to the Rock").
The attacks result in the closure of US airspace, diverting 38 international aircraft to Gander International Airport. The passengers on these aircraft doubled the population of the small Newfoundland town, which is unequipped for the influx of stranded travelers ("38 Planes"). The Gander townspeople spring to action and prepare to house, feed, clothe, and comfort the nearly 7,000 passengers, along with 19 animals in cargo ("Blankets and Bedding"). Meanwhile, the pilots, flight attendants, and passengers are initially forbidden from leaving the planes, forcing them to contend with confusing and conflicting information about what has happened and why they were suddenly grounded ("28 Hours / Wherever We Are").
Once allowed off the planes and transferred to nearby emergency shelters ("Darkness and Trees"), the passengers and crew watch replays of the attacks on the news and learn the true reason why they were grounded ("Lead Us Out of the Night"). The frightened and lonely passengers desperately try to contact their families and pray for their loved ones while the townsfolk work through the night to help them in any and every way they can ("Phoning Home / Costume Party"). The travelers are initially taken aback by their hosts' uncommon hospitality, but they slowly let their guards down and begin to bond with the quirky townsfolk and each other. The "islanders" in Gander and the surrounding towns open up their homes to the "plane people", regardless of their guests' race, nationality, or sexual orientation. Two women, Beulah (from Gander) and Hannah (from New York), bond over the fact that both of their sons are firefighters, but Hannah's son remains missing after the attacks ("I Am Here"). Hannah asks Beulah to take her to a Catholic church, and a number of characters make their way to other houses of worship around town ("Prayer").
To alleviate rising fear and mounting tensions ("On The Edge"), the townspeople invite the passengers to be initiated as honorary Newfoundlanders at the local bar ("Heave Away / Screech In"). The gravity of the attacks nevertheless continues to set in as US airspace is eventually reopened. One trailblazing pilot, Beverley Bass, comments on how her once optimistic view of the world has suddenly changed ("Me and the Sky"). While one pair of passengers develops a romance despite the terrible circumstances ("The Dover Fault/Stop the World"), another couple's long-term relationship falls apart under the stress of the event.
As the passengers and crew fly away to their homes, they joyously exchange stories of the immense kindness and generosity that the Newfoundlanders showed the strangers in their time of need ("Somewhere in the Middle of Nowhere"), but not before a Muslim traveler, faced with increasing prejudice from his fellow passengers, undergoes a humiliating strip search prior to boarding. The townsfolk in Gander return to normalcy but comment on how empty their town now seems and how different the world now feels. The passengers and airline staff who return to the United States are faced with the horror of the attacks' aftermath — including Hannah, who learns that her firefighter son died during the rescue efforts ("Something's Missing").
Ten years later, the crew and passengers of the once stranded planes — the "come from aways" — reunite in Gander, this time by choice, to celebrate the lifelong friendships and strong connections they formed in spite of the terrorist attacks ("Finale"), as Claude the mayor professes, "Tonight we honor what was lost, but we also commemorate what we found."
| Character | San Diego [9] |
Seattle [10] |
Washington, D.C. [11] |
Toronto [12] |
Broadway | Canada [13][14] |
North American tour | Dublin | West End | Australia | Pro-Shot | US non-equity tour | UK tour |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2015 | 2016 | 2017 | 2018 | 2019 | 2021 | 2023 | 2024 | ||||||
| Kevin Tuerff/Garth | Chad Kimball | Jack Noseworthy | Andrew Samonsky | David Shannon | Doug Hansell | Tony LePage | Shawn W. Smith | Mark Dugdale | |||||
| Beverley Bass/Annette | Jenn Colella | Eliza-Jane Scott | Becky Gulsvig | Rachel Tucker | Zoe Gertz | Jenn Colella | Addison Garner | Sara Poyzer | |||||
| Claude Elliott | Joel Hatch | George Masswohl | Kevin Carolan | Clive Carter | Richard Piper | Joel Hatch | Andrew Hendrick | Nicholas Pound | |||||
| Bob | Rodney Hicks | Kevin Vidal | James Earl Jones II | Nathanael Campbell | Kolby Kindle | De'Lon Grant | Jason Tyler Smith | Dale Mathurin | |||||
| Kevin Jung/Ali | Caesar Samayoa | Ali Momen | Nick Duckart | Jonathan Andrew Hume | Nicholas Brown | Caesar Samayoa | Trey DeLuna | Jamal Zulfiqar | |||||
| Janice | Allison Spratt Pearce | Kendra Kassebaum | Steffi DiDomenicantonio | Emily Walton | Emma Salvo | Sarah Morrison | Emily Walton | Hannah Kato | Natasha J Barnes | ||||
| Bonnie Harris | Petrina Bromley | Alyssa Wilmoth Keegan | Petrina Bromley | Kristen Peace | Megan McGinnis | Mary Doherty | Kellie Rode | Petrina Bromley | Kathleen Cameron | Rosie Glossop | |||
| Oz Fudge | Geno Carr | Eric Ankrim | Geno Carr | Cory O'Brien | Harter Clingman | Harry Morrison | Simon Maiden | Paul Whitty | Danny Arnold | Oliver Jacobson | |||
| Nick Marson/Doug | Lee MacDougall | James Kall | Chamblee Ferguson | Robert Hands | Nathan Carter | Jim Walton | Stanton Morales | Daniel Crowder | |||||
| Hannah O'Rourke | Q. Smith | Saccha Dennis | Danielle K. Thomas | Cat Simmons | Sharriese Hamilton | Q. Smith | Candace Alyssa Rhodes | Bree Smith | |||||
| Diane Gray | Sharon Wheatley | Barbara Fulton | Christine Toy Johnson | Helen Hobson | Katrina Retallick | Sharon Wheatley | Molly Samson | Kirsty Hoiles | |||||
| Beulah Davis | Astrid Van Wieren | Lisa Horner | Julie Johnson | Jenna Boyd | Emma Powell | Astrid Van Wieran | Kristin Litzenberg | Amanda Henderson | |||||
† Not listed on the show's Playbill
| Production | Venue/Location | First Preview | Opening Night | Closing Night | Notes |
|---|---|---|---|---|---|
| San Diego | La Jolla Playhouse | May 29, 2015 | June 13, 2015 | July 12, 2015 | Debut production. Out of town tryout. |
| Seattle | Seattle Repertory Theatre | November 13, 2015 | November 18, 2015 | December 20, 2015 | Second out of town tryout. |
| Washington, D.C. | Ford's Theatre | September 2, 2016 | September 8, 2016 | October 9, 2016 | Third out of town tryout. |
| Gander | Steele Community Centre | N/A | October 29, 2016 | October 29, 2016 | Concert version prior to Broadway. |
| Toronto | Royal Alexandra Theatre | November 15, 2016 | November 24, 2016 | January 8, 2017 | Fourth out of town tryout. Prior to Broadway. |
| Broadway (New York) | Gerald Schoenfeld Theatre | February 18, 2017 | March 12, 2017 | October 2, 2022[2] |
|
| Canada | First venue: Royal Manitoba Theatre Centre, Winnipeg | January 4, 2018 | January 11, 2018 | December 22, 2021 |
|
| North American tour | First venue: Capitol Theatre, Yakima, WA | October 5, 2018 | October 14, 2018 | May 24, 2023 | |
| Dublin | Abbey Theatre | December 6, 2018 | December 11, 2018 | January 19, 2019 | Transferred to London. |
| West End (London) | Phoenix Theatre | January 31, 2019 | February 18, 2019 | January 7, 2023[4] | It was announced on January 20, 2021, that the previously scheduled concert version of the musical has been cancelled.[15] |
| Australia | Comedy Theatre | N/A | July 10, 2019 | July 9, 2023 | The Australian production began performances in Melbourne. The second leg of the tour started performances in July 2022 on the Gold Coast, followed by Melbourne, Sydney, and Canberra.[16] Previews were cancelled due to staff illnesses.[17][18] |
| The Netherlands | First venue: Nieuwe Luxor Theater, Rotterdam | November 3, 2021 | November 18, 2021 | June 6, 2022 | Non-replica production in Dutch. |
| Buenos Aires | Teatro Maipo | June 4, 2022 | December 4, 2022 | Non-replica production in Spanish. | |
| April 29, 2023 | October 29, 2023 | ||||
| May 24, 2024 | August 17, 2024 | ||||
| Denmark | Fredericia Musicalteater | October 21, 2022 | November 6, 2022 | Non-replica production in Danish. | |
| US non-equity tour | First venue: Koger Center, Columbia, SC | October 17, 2023 | Currently running | ||
| Seoul | Kwanglim Arts Centre | November 28, 2023 | February 18, 2024 | Non-replica production in Korean. | |
| United Kingdom tour | First venue: Curve Theatre, Leicester | March 1, 2024[19] | Currently running | ||
| Japan | First venue: Nissay Theatre, Tokyo | March 7, 2024 | May 12, 2024 | Replica production in Japanese.[20] | |
| Brussels | Karreveld Castle | July 10, 2024 | July 13, 2024 | September 4, 2024 | Non-replica production in French.[21] |
| Madrid | Teatro Marquina | September 12, 2024 | September 19, 2024 | Non-replica production in Spanish. Transferred from Buenos Aires. | |
| Panama City | National Theatre of Panama | September 24, 2024 | October 6, 2024 | Non-replica production in Spanish. |
The first professional production was a collaboration by the La Jolla Playhouse and Seattle Repertory Theatre in 2015.[22] The play had extended runs in each location. The musical opened at the La Jolla Playhouse in June 2015, directed by Christopher Ashley and featuring Joel Hatch as the Mayor of Gander, Jenn Colella as Beverley, and Chad Kimball as Kevin.[23] In Seattle, it broke all box office records (including highest grossing show and largest single ticket sales day) at Seattle Repertory Theatre.[24]
Following its runs in San Diego and Seattle, the show played out-of-town engagements at Ford's Theatre in Washington, D.C., from September 2, 2016, to October 9, 2016,[25][26] and then at the Royal Alexandra Theatre in Toronto, Ontario, from November 15, 2016, to January 8, 2017.[27] The entire run of the Toronto production sold out during its second week of performances.[28] The show's ticket sales set a record for the then 109-year-old Royal Alex Theatre, selling $1.7 million in tickets in a single week.[29] The show could not be extended due to its Broadway commitment but, as a result of the strong demand, Mirvish Productions announced on December 2, 2016, that it was adding an additional four box seats and 12 standing-room locations for the duration of the show.[30] An additional show was also added on the evening of December 18, 2016.[28]
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The musical opened in previews on Broadway on February 18, 2017, and officially opened on March 12, 2017, at the Gerald Schoenfeld Theatre. The show has been playing to standing-room-only audiences. Direction is by Christopher Ashley, choreography by Kelly Devine, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, and music direction by Ian Eisendrath.[31] The performance of March 15, 2017, on Broadway was attended by Prime Minister Justin Trudeau (who addressed the audience before the show), other current and former Canadian federal politicians and provincial politicians from Newfoundland and Labrador, US Ambassador to the United Nations Nikki Haley, and Ivanka Trump.[32][33]
On March 12, 2020, the show suspended production due to the COVID-19 pandemic.[34] On May 10, 2021, it was revealed that the show would be returning to Broadway on September 21.[35] From June 21, 2022, until August 7, 2022, original cast member Jenn Colella briefly returned as Beverley/Annette. On June 8, 2022, it was announced that the Broadway production would close on October 2, 2022, after 25 previews and 1,669 regular performances, making it the 49th longest running show on Broadway.[2]
Following the success of the pre-Broadway engagement, Mirvish Productions announced they would be opening a Canadian production of the show that would include an all-Canadian cast.[36] In July 2017, the cast for the Canadian production was announced.[37]
In January 2018, the production played a limited engagement in Winnipeg at the Royal Manitoba Theatre Centre, where the entire four-week run was sold-out.[38] It then began performances at the Royal Alexandra Theatre in Toronto on February 13, 2018,.[39] The Canadian production recouped its full capitalization in 14 weeks.[40]
Due to the continued demand, the show ended its run at the Royal Alexandra Theatre on January 20, 2019, so it could be transferred to the Elgin Theatre with performances beginning on February 5, 2019.[41] The show was transferred because Mirvish had previously promised the Royal Alexandra Theatre to the producers of Dear Evan Hansen, which would be opening a Canadian production at that theatre in March 2019.[42] During the hiatus, the company of Come from Away performed eight benefit concerts of the show at the Holy Heart Theatre in St. John's, Newfoundland and Labrador. The net proceeds from the performances were donated to Gander, Gambo, Appleton, Lewisporte, Norris Arm, and Glenwood, the six towns that hosted the 7,000 travellers, along with the Autism Society of Newfoundland and Labrador and the Community Food Sharing Association.[43] The musical re-opened at the Elgin Theatre on February 5, 2019. Following the early closure of Dear Evan Hansen, the musical again transferred back to the Royal Alexandra Theatre, where it resumed performances on December 13, 2019.[44] The musical played there until March 2020, when it had to close due to the COVID-19 pandemic.
After a 21-month hiatus, Come from Away reopened at the Royal Alexandra Theatre on December 15, 2021. Amidst cast illnesses, the show closed on December 21 and planned to re-open on December 28. However, because of the omicron variant, and restrictions imposed by the Ontario government, the production announced on December 27, 2021, that it will be closed permanently.[45]
In May 2022, it was reported that a revival of the Canadian production of Come from Away will occur in 2024.[46] This was the result of federal government funding to present the musical in Ottawa, before returning to the Royal Alexandra Theatre. The musical played a limited engagement at the Babs Asper Theatre in Ottawa between August 14 and September 1, 2024. It then began performances at the Royal Alexandra Theatre beginning September 22, 2024.[47]
The musical started its North American tour of more than 50 cities in October 2018 at the 5th Avenue Theatre in Seattle, Washington.
The musical ran at the Abbey Theatre in Dublin, Ireland, from December 2018 to January 2019, before transferring to the Phoenix Theatre in London's West End from January 30, 2019, with a British cast.[48] Rachel Tucker played Captain Beverley Bass until a major cast change in February 2020, when Alice Fearn took over the role.[49] The original cast also included Clive Carter in the role of Claude.[50]
The West End production closed on January 7, 2023, after 1,048 performances.[51]
An Australian production opened at the Comedy Theatre, Melbourne, in July 2019.[52] The Australian Company was planned to tour China, but this was cancelled due to SARS-CoV-2.[53][54][55][56][57] Although the initial Melbourne Fall Season was cut short due to SARS-CoV-2, a short encore in Melbourne in February 2021 occurred before briefly stopping at Queensland Performing Arts Centre in Brisbane before transferring to Capitol Theatre in Sydney.[58] The Melbourne production became the Comedy Theatre's most successful musical in its history.[59] The production has since toured to the Gold Coast, Perth, and Canberra,[60] with return seasons in Melbourne and Sydney.
A UK touring production began on March 1, 2024 at the Leicester Curve Theatre[61] From 12 to 23 March 2024 they performed at the Liverpool Empire Theatre, and will be performing at the New Theatre Oxford from 23 April.
The Nordic premiere of the musical took place on September 26, 2020, in Norrköping, Sweden, in a production by the East Gothland Theatre.[62][63]
A Dutch production was announced on April 12, 2021, and starred Willemijn Verkaik as Beverley Bass.[64]
A Danish production opened on October 21, 2022, at Fredericia Musicalteater.[65]
A production in Argentina by The Stage Company was announced at the Teatro Maipo in Buenos Aires for April 2020 onwards, with Carla Calabrese as director and cast member. It was postponed due to the COVID-19 pandemic, and eventually opened in April 2022.[66][67]
Misha Berson, writing for the Seattle Times, praised Christopher Ashley's fluid staging, calling the show a "meaningful balm to the benumbed psyche." Berson closed the review noting how the show "honors our capacity for humble goodness and mutual empathy in the shadow of faith-shattering evil."[68]
Jay Irwin with Broadway World called the production "emotionally transcendent" and "the best musical I've seen all year and possibly ever."[69]
David Gerson with DC Metro Theatre Arts called the show "one of the most refreshing pieces of art that I have seen in years. The folk and country influenced pop score is tuneful and the cast sings the hell out of it."[70] Peter Marks, in his review in The Washington Post, noted that the musical "stirs powerful memories of 9/11 ... if the book's mechanics unfold with too much sugar, the score has an infectious, gritty vitality: Especially good is a number set in a Gander pub, choreographed by Kelly Devine, during which a risibly nutty local initiation rite is performed, involving the embrace of a recently caught codfish."[71]
Kelly Nestruck of The Globe and Mail wrote that "the heartwarming musical lives up to the hype" and that "the accessible story, strong emotional core and gorgeous songwriting should not distract from how original and smart this gem of a musical is."[72] Robert Cushman of the National Post called the production "outstanding."[73] Liz Braun of the Toronto Sun gave the show a perfect 5-star review, writing "Blame Canada: a grim day in American history has been transformed into a joyous and emotional musical about the indomitable human spirit."[74] Alan Henry of Broadway World said "You'll laugh, you'll cry, and you'll be a better person when you leave the theatre. Don't miss 'Come From Away'."[75]
Ben Brantley, chief theatre critic for The New York Times, wrote "Try, if you must, to resist the gale of good will that blows out of 'Come From Away,' the big bearhug of a musical", though it "starts off in a grating key of deep earnestness" and there are "moments that feel a little too heartwarming". However, "even the most stalwart cynics may have trouble staying dry-eyed during this portrait of heroic hospitality under extraordinary pressure."[76] He awarded the show the Critics' Pick designation, given to productions the critic believes have particular merit.
Joe Dziemianowicz of the New York Daily News called the show "big-hearted and crowd-pleasing" and "a singing reminder that when things are at their worst, people can be at their best."[77]
Joe Westerfield with Newsweek wrote that "'Come From Away' accomplishes what all the best musicals do: It takes you to a place where you didn't know you wanted to go, and makes you not want to leave."[78]
Frank Scheck of The Hollywood Reporter called the musical "heartwarming and thoroughly entertaining ... especially in these politically fractious times."[79]
Johnny Oleksinski with the New York Post wrote that "Every New Yorker must see this show", referring to the musical as "Broadway's biggest and best surprise of the season."[80]
Peter Marks of The Washington Post called the show "an effervescent musical" and "an antidote for what ails the American soul."[81]
Michael Dale of Broadway World called the show an "inspiring, funny and kick-ass beautiful new musical" and went on to say that "as long as 'Come From Away' is playing on Broadway, I will recommend it to everyone. Everyone."[82]
Steven Suskin, drama critic for The Huffington Post, wrote that "'Come From Away' is altogether different and altogether gripping, ... brave and new and unusual and overwhelmingly heart-tugging."[83]
Robert Kahn with NBC called the piece "a dignified, often funny new musical" which "find[s] a spiritual angle to a horrific story, depicting the goodness in humanity while still allowing us room for the feelings of loneliness and fear that will always be connected to that time."[84]
Jennifer Vanasco with WNYC called the show "a love letter – to Newfoundland, to New York, to what people can do if they set aside fear and hate. Don't miss it."[85]
In a more negative review, Jesse Green of New York Magazine called it "aggressively nice", and wrote that "New Yorkers may be permitted a bit of side-eye about a work that borrows our local tragedy as background for 100 minutes of Canadian civic boosterism." However he called it "tightly directed" and "sung beautifully".[86]
An original Broadway cast recording was released on March 10, 2017, through Molly Records. It peaked at number 92 on the Top Current Albums chart and number two on the Cast Albums chart.[87][88]
| Year | Award Ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 2017 | Helen Hayes Awards[89] | Outstanding Musical—HAYES Production | Won | |
| Outstanding Direction of a Musical—HAYES Production | Christopher Ashley | Won | ||
| Outstanding Supporting Actress in a Musical—HAYES Production | Jenn Colella | Won | ||
| Kendra Kassebaum | Nominated | |||
| Alyssa Wilmoth Keegan | Nominated | |||
| Q. Smith | Nominated | |||
| Astrid Van Wieren | Nominated | |||
| Outstanding Supporting Actor in a Musical—HAYES Production | Joel Hatch | Nominated | ||
| Rodney Hicks | Nominated | |||
| Chad Kimball | Nominated | |||
| Outstanding Ensemble in a Musical—HAYES Production | Won | |||
| Outstanding Choreography, Musical—HAYES Production | Kelly Devine | Nominated | ||
| Outstanding Musical Direction—HAYES Production | Ian Eisendrath | Nominated | ||
| Outstanding Sound Design—HAYES Production | Gareth Owen | Nominated | ||
| Year | Award Ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 2017 | Tony Award[90] | Best Musical | Nominated | |
| Best Book of a Musical | Irene Sankoff and David Hein | Nominated | ||
| Best Original Score | Nominated | |||
| Best Direction of a Musical | Christopher Ashley | Won | ||
| Best Featured Actress in a Musical | Jenn Colella | Nominated | ||
| Best Lighting Design in a Musical | Howell Binkley | Nominated | ||
| Best Choreography | Kelly Devine | Nominated | ||
| Drama Desk Awards[91] | Outstanding Musical | Won | ||
| Outstanding Featured Actress in a Musical | Jenn Colella | Won | ||
| Outstanding Director of a Musical | Christopher Ashley | Nominated | ||
| Outstanding Choreography | Kelly Devine | Nominated | ||
| Outstanding Book of a Musical | Irene Sankoff and David Hein | Won | ||
| Outstanding Music | Nominated | |||
| Outstanding Lyrics | Nominated | |||
| Outstanding Orchestrations | August Eriksmoen | Nominated | ||
| Outstanding Costume Design for a Musical | Toni-Leslie James | Nominated | ||
| Drama League Award[92] | Outstanding Production of a Broadway or Off-Broadway Production | Nominated | ||
| Outer Critics Circle Awards[93] | Outstanding Broadway Musical | Won | ||
| Outstanding New Score (Broadway or Off-Broadway) (The Marjorie Gunner Award) | Irene Sankoff and David Hein | Nominated | ||
| Outstanding Book of a Musical (Broadway or Off-Broadway) | Won | |||
| Outstanding Director of a Musical | Christopher Ashley | Won | ||
| Outstanding Choreographer | Kelly Devine | Nominated | ||
| Outstanding Featured Actress in a Musical | Jenn Colella | Won | ||
| Outstanding Sound Design (Play or Musical) | Gareth Owen | Won | ||
| Chita Rivera Awards for Dance and Choreography[94] | Outstanding Ensemble in a Broadway Show | Nominated | ||
| Outstanding Choreography in a Broadway Show | Kelly Devine | Nominated | ||
2018 |
Grammy Awards[95][96] | Best Musical Theater Album | Ian Eisendrath, August Eriksmoen, David Hein, David Lai & Irene Sankoff (producers); David Hein & Irene Sankoff (composers/lyricists) | Nominated |
| Year | Award Ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 2019 | Laurence Olivier Award[97] | Best New Musical | Won | |
| Outstanding Achievement in Music | David Hein, Irene Sankoff, Ian Eisendrath, August Eriksmoen, Alan Berry and 'the band' | Won | ||
| Best Actor in a Supporting Role in a Musical | Clive Carter | Nominated | ||
| Robert Hands | Nominated | |||
| Best Actress in a Supporting Role in a Musical | Rachel Tucker | Nominated | ||
| Best Lighting Design | Howell Binkley | Nominated | ||
| Best Sound Design | Gareth Owen | Won | ||
| Best Director | Christopher Ashley | Nominated | ||
| Best Theatre Choreographer | Kelly Devine | Won | ||
| Evening Standard Theatre Award[98][99] | Best Musical | Nominated | ||
| 2020 | Critics' Circle Theatre Award[100] | Best Musical | Won | |
| Casting Directors' Guild Award[101] | Best Casting in Musical Theatre | Pippa Ailion, Natalie Gallacher and Katherine Skene | Won | |
The musical has been criticized for playing a part in protecting Newfoundland from the history of Islamophobia post September 11. The town of Gander is described as being largely altruistic and friendly in nature, while still depicting underlying issues of discrimination in the days after the attack. Although the show goes into some detail about the Islamophobia one man faces in Gander after 9/11, the Canadian stereotype of unending kindness found in Come from Away has been seen as problematic. This stereotype is often used as an excuse to look past racism and hateful rhetoric found in and beyond Newfoundland. [102]
In November 2017, it was announced that The Mark Gordon Company would produce a feature film adaptation of the musical, with Sankoff and Hein writing the screenplay and Christopher Ashley as director.[103] In April 2019, Sankoff and Hein stated that the intention was to shoot in Gander and cast lesser-known actors, with Gander residents as extras.[104]
In February 2021, due to the COVID-19 pandemic and its impacts on the film industry and the performing arts, the film adaptation was cancelled in favor of producing a live recording of the stage production with the members of the Broadway cast reprising their roles, to be released in September 2021 on the 20th anniversary of the attacks. Produced and financed by Entertainment One and RadicalMedia, a May 2021 staging at the Gerald Schoenfeld Theater with Ashley directing and Gordon as producer was used. Joining the producing team are Jennifer Todd, Bill Condon and one of the stage production's producers, Junkyard Dog Productions. Sankoff, Hein, Jon Kamen, Dave Sirulnick and Meredith Bennett executive produced. The film employed 222 people, including the members of the New York cast, crew, staff, and creative and film teams.[105][106] In April 2021, Apple TV+ acquired the film's distribution rights.[107] It was released on September 10, 2021.[108]
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