LOGAN — Lyric Repertory Company announced an overhaul of their upcoming 2026 season last fall, noting they had secured the rights to a long-awaited, highly sought-after “TBA” production. I placed my bets and hopes on the arrival of a personal favorite musical, Come From Away, with book, music, and lyrics by Irene Sankoff and David Hein. Now playing at the Caine Lyric Theatre and directed by Britannia Howe, Come From Away is an ensemble masterpiece that warms my heart and lets my soul sing even as I weep.
Historical Context
The story begins after an event that many over a certain age will vividly remember, including where they were in the moment. The inciting incident of the musical occurs offstage as terrorists used planes as bombs attacking American icons and people on September 11th, 2001. They struck the Twin Towers in New York and the Pentagon in Washington, while passengers stopped a potential fourth attack on Flight 93.
The musical is set in Gander, Newfoundland, and its surrounding cities reacting to this horrific catastrophe. When US airspace closed, 38 planes were suddenly diverted to the Gander International Airport. A small community of 9,000 people unexpectedly hosted thousands of stranded passengers. The “plane people” faced indefinite closures and fear, and the people of Gander responded with open arms. The musical uses a bit of dramatic license covering the genuine, moving stories of some individuals involved.
Come From Away at Lyric Rep is a masterpiece of storytelling. It uses simple theatrical means to tell a massive story. The event is large, but it feels so small and relatable, it could be happening anywhere. Seeing this production at the Lyric highlights just how intimate the show feels in a smaller space. It felt like a human legend told about great service and great love during tragedy. It was incredibly touching to see the performers themselves silently crying on stage in reaction to the scenes around them.
Precision and Pacing
Come From Away is very much a true ensemble musical driven by a challenging, contemporary folk score. Director Britannia Howe stages the production very effectively with choreographer Stephanie R. White. Each cast member plays multiple characters to fill out the sheer quantity of passengers and community members. There are fast changes and quick beats to flow through, leaving little room for stoppage or rest. The Lyric Rep cast transitions well between both primary roles and smaller cameo roles swiftly throughout the production. The simplicity of the physical set does not mean the staging itself is simple and the production manages to keep a fluid pace.
Standout Performances
This musical features so many different storylines with interesting beats. Because the characters span a wide range of real human emotions and outcomes based on real stories, at least one plotline will surely stand out when watching the production.
Angelique A. Strothers plays Hannah, and it is this specific arc bringing me to tears even as I write this review. Strothers is a master of emotion and heart-wrenching pain as Hannah awaits news about her firefighter son in New York City. As she sings “I Am Here,” the way she chooses to pause and take a beat within the number lets the emotion sink in. The grief of a mother becomes completely tangible. Strothers growing connection and friendship with Kathy G. Mitchell as Beula is one of the best examples of the human stories coming to life in this production.
Samae Allred delivers a masterful performance balancing two very different people playing Annette and Beverley Bass. Allred balances playing a wide-eyed, infatuated young woman and a sharp-eyed, no-nonsense female pilot. It goes beyond a quick costume change; she genuinely feels like an entirely different person. Allred sings Beverley’s solo, “Me and the Sky,” and her vocals are stunning and bright bringing incredible life to the number.
Herb Newsome is stunning and delivers his lines with fantastic comedic flair and energy as Bob. His sequence “stealing” barbecues from backyards is an absolute delight as he marvels at the generosity of the Newfoundland people. His cameo role as Captain Bristol, portrayed with great swagger alongside Allred’s Annette, provides scenes of pure comedic exaggeration. Newsome’s emotion as both the African bus passenger and as Bob seeing the footage of the attacks was moving.
Ariana Whatcott as Diane and Riley Kyle Thompson as Nick deliver great budding intimacy and romance. They beautifully portray two people brought together by tragic events. Whatcott’s Texas accent was consistently well done, as was Thompson’s British accent. Their connection is very charming, and their duet “Stop the World” is a highlight of the production.
Paul T. Mitri and Jonah Newton do well to show a straining relationship as characters Kevin Jung and Kevin Tuerff, respectively. Mitri stands out more as Ali, a Egyptian Muslim passenger who is a combination of several Muslim passengers diverted. Mitri’s performance is complex in responding to prejudice, racism, and hate Ali unjustly experiences contrasted by showing Ali’s willingness to still help. Mitri’s performance grounds the musical with realism as the inclusion of this complex role challenges the notion that everything was perfectly hospitable.
Musical Accomplishment
A live band sits behind a barrier at the back of the stage. Conductor Kelin Gibbons (Guitar/Mandolin) directs Dallas Aksoy (Accordian), Rick Kline (Bass), Daniel Hankins (Drums), Lizzy Prettyman (Keyboard), Ryn Haubner-Sheridan (Violin), and Greg Wheeler (Woodwinds). These musicians are integral to the environment and the staging. The live music is deeply impressive. The script even includes a couple of references to the band, and they get a great chance to step out and play during the energetic “Screech In” sequence.
The opening number “Welcome to the Rock” was well executed and highlighted the ensemble and instrumentals, introducing the setting and characters. The slower “Lead Us Out of the Darkness” as the “plane people” react to seeing the attacks for themselves featured a lovely choral blend full of emotion.
However, the transitions between songs can be quite difficult. “Darkness and Trees” features complicated rhythms and overlapping layers that sometimes made it hard to hear all of the lyrics. There were a couple of scene transitions where the band and the cast felt out of sync for a few bars.
Scenic and Technical Design
The stage set, designed by Amy L. Critchfield, is minimalist and helps give the show a folklore, storytelling feel. While only featuring a few chairs, a table, and a bunch of suitcases, these items are creatively used to represent anything and everything. In the background, vertical slatted panels move and change creating visual diversity. The stained glass projected on these panels for the church scene during the song “Prayer” was absolutely lovely.
Additionally, the lighting design by Paul Yeates frequently kept the stage in semi-darkness, and excellent choice for “Out of the Darkness” where stars and northern lights appeared projected overhead. There are some great spotlights throughout the show for the soloists. Even so, having the stage in darkness so frequently made it difficult to always see the performers well.
A Transforming Experience
If Come From Away is new to you, I highly encourage you to go see it. I feel better for our world today in looking back at the response of helpers who gave service and compassion in the face of extraordinary tragedy. Ultimately, the number “Prayer” exemplifies a sense of faith and devotion from many religious people that is as transformative and meaningful as anything could be. More people should arrive to the theatre as “come from aways” to experience these true stories exemplifying human connection.
SHOW INFO: Come From Away runs until July 31st at the Caine Lyric Theater (30 W Center St, Logan, UT 84321). Performances are in a repertory schedule found online here with times either at 1:00pm or 7:30pm. Tickets range from $48-$58. To view more information and buy tickets, visit https://www.usu.edu/lyricrep/.