Slow Burn Theatre Company’s moving production of the Tony Award-winning musical celebrates the extraordinary compassion that emerged from September 11th.

October 12th, 2026

There are events in history that divide our lives into before and after. September 11, 2001, is one of them. For those who remember that terrible morning, the images, uncertainty and overwhelming sense of vulnerability remain indelible. Yet amid the tragedy, extraordinary stories of compassion and human connection emerged. One of the most remarkable unfolded in Gander, Newfoundland, where a small Canadian community welcomed thousands of stranded airline passengers after 38 planes were diverted to its airport.

That extraordinary story forms the heart of Come From Away, the musical by Irene Sankoff and David Hein, now presented by Slow Burn Theatre Company. Rather than following a conventional musical structure, the production weaves together individual experiences of fear, uncertainty, hospitality and unexpected connection, revealing how ordinary people responded to an international catastrophe.

The musical takes us into the lives of stranded passengers and residents who suddenly find themselves responsible for feeding, sheltering and comforting thousands of strangers. Cultural differences, language barriers and daunting logistical challenges are met with ingenuity, humor and Newfoundland hospitality.

Director Patrick Fitzwater guides the production with an understanding of the show’s distinctive theatrical language. The performers remain onstage for much of the production, moving fluidly among characters as the story shifts from one encounter to another. A change in posture, an altered accent or a quick costume adjustment transforms an actor into someone entirely different. These rapid transitions demand exceptional precision, and the ensemble meets the challenge admirably, establishing distinct personalities in remarkably little time. When the transitions work, the effect is both theatrical and surprisingly intimate.

The musical score, orchestrated by August Eriksmoen, propels the action with persistent rhythmic energy. Allan Paglia’s musical direction provides an effective pulse beneath the storytelling. Rather than pausing for elaborate production numbers, Come From Away frequently allows its songs to function as extensions of the dialogue and action.

That approach is both the show’s strength and, at times, its limitation. The music supplies atmosphere, momentum and emotional texture, but relatively few melodies linger in the memory afterward. The recurring refrain of “I Am an Islander” is among the more memorable musical moments, reflecting the communal spirit of the piece. Still, the show’s impact depends less on immediately hummable songs than on the stories they tell and the emotions they evoke.

Among the cast, Lee Hollis Bussie makes a particularly strong impression in the roles of Kevin J./Ali and others. His character transformations are lightning-fast yet never feel like mere exercises in theatrical technique. Each change is fully committed and convincing, demonstrating an impressive ability to distinguish one personality from another with economy and precision.

SBTC Come From Away – Lee Hollis Bussie – photo by Larry Marano

Justin Phillips brings appealing comic timing to Bob and his other characters, providing welcome levity without turning the humor into caricature. Lindsey Corey is equally engaging as Bonnie and others, finding the wit and eccentricity that make the Newfoundland residents such memorable figures. Their performances demonstrate how humor becomes part of the way people endure difficult circumstances rather than an escape from the seriousness surrounding them.

SBTC Come From Away – Justin Phillips – photo by Larry Marano

Kareema Khouri delivers one of the production’s most affecting moments with “I Am Here.” As Hannah, a mother desperately searching for news of her son, she brings heartbreaking vulnerability to a situation requiring no theatrical embellishment. Khouri allows the character’s anxiety and hope to emerge with sincerity, cutting through the show’s kinetic storytelling to reveal the anguish of those who had no way of knowing whether their loved ones were safe.

SBTC Come From Away -Kareema Khouri – photo by Larry Marano

Kimberly Doreen Burns tackles the demanding role of Beverly, the pioneering female airline pilot whose experiences are explored in “Me and the Sky.” The song offers one of the production’s most substantial opportunities for a performer to step forward from the ensemble and tell a personal story in greater depth. Burns brings authority and determination to the role, conveying Beverly’s professional ambition and the extraordinary circumstances that suddenly reshape her world. Her vocal delivery occasionally features a vibrato wider than is ideal for the material, but her commitment and command remain evident.

SBTC Come From Away – Kimberly Doreen Burns- photo by Larry Marano

Irene Adjan and Michael Dean Morgan are charming as Diane and Nick, whose unexpected romance becomes one of the evening’s gentler pleasures. Their connection develops against a backdrop of global uncertainty, offering a reminder that even when the world seems to have stopped, human relationships continue to evolve. Their scenes provide welcome warmth amid the larger story’s emotional turbulence.

SBTC Come From Away – Michael Dean Morgan & Irene Adjan & Company – photo by Larry Marano

Slow Burn Theatre Company’s staging complements the ensemble with attractive scenic design by Nikolas Serrano, effective lighting by Eric Norbury and costumes by Rick Peña. The physical environment accommodates rapid changes in location without overwhelming the storytelling, while Fitzwater maintains the necessary momentum and communal energy.

The production also utilizes original production elements from the Broadway staging, including direction by Christopher Ashley, musical staging and choreography by Kelly Devine, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley and sound design by Gareth Owen. These contributions help establish the theatrical framework that allows the story to move efficiently among dozens of characters and locations.

What ultimately makes Come From Away resonate is the contrast between the scale of the tragedy and the intimate nature of the response. September 11 affected the entire world, but the story here is grounded in individual actions: a meal prepared, a bed offered, a frightened stranger comforted, a community making room for people it had never expected to meet.

There is something particularly moving about experiencing this story in an era when the news can make the world feel increasingly fractured. Come From Away does not pretend that kindness can erase tragedy or that a few days of generosity can resolve every conflict. Instead, it illustrates how compassion can emerge when familiar structures collapse and strangers suddenly find themselves depending on one another.

On September 11, the world stopped. In the days that followed, the people of Gander helped thousands of strangers begin moving forward again. Come From Away honors that extraordinary act of humanity, and Slow Burn Theatre Company’s heartfelt, accomplished production gives audiences a powerful reminder that even in our darkest moments, an open door and a generous heart can make all the difference.