'Come From Away' at Alhambra Soars With Humanity and Heart

Alhambra Theatre & Dining’s production of Come From Away is a moving, exhilarating reminder of the power of community in the face of tragedy. Now, even 24 years after the events of Sept. 11, the show still resonates with urgency and compassion, and this cast brings it to life with both precision and heart.

A Story Stitched From Real Lives

Come From Away tells the true story of how the small town of Gander, Newfoundland, unexpectedly hosted nearly 7,000 stranded passengers when U.S. airspace was closed in the wake of 9/11. What unfolds is not a single narrative but a tapestry of real accounts — pilots, passengers and locals — woven together through music, dialogue and movement. It is a story about fear and grief, but also about generosity, kindness and human connection. The brilliance of the musical lies in how it transforms a global tragedy into an intimate story of hope, while still acknowledging the pain, fear and imperfections of humanity alongside its kindness.

Performances That Transform in an Instant

What stands out most is the ensemble’s seamless ability to embody multiple characters, each distinct yet woven into the larger narrative. The cast shifts roles with quick, vivid adjustments in voice, posture and costume that keep the storytelling fluid and vibrant. One audience member admitted they lost track of who was playing whom, high praise for the cast’s shape-shifting skill.

Maureen McCluskey’s warmth as Diane contrasts beautifully with her sharper turns in other roles, while Millicent (Penny) Sylvester lends Hannah a quiet dignity that anchors some of the show’s most emotional moments. Katie Nettle captures the wide-eyed eagerness of Janice, the rookie reporter, charting her growth from nervous observer to a more confident and simultaneously weary voice as the story unfolds. Lisa Booth and Kathy Sanders ground the story with humor and humanity as Beulah, the schoolteacher, and Bonnie, the animal shelter worker. Their portrayals highlight the generosity of the townspeople in both classrooms and kennels, offering warmth in tense moments and lending authenticity to Gander’s everyday kindness.

Jennifer Medure approaches Beverly, the American Airlines captain, with sincerity and boldness, giving the character both authority and vulnerability in the defining solo “Me and the Sky.” Jason Nettle delivers a spirited Oz, embodying both the humor and heart of his character. Christopher Michael Milligan and Anthony Llerandi, as the two Kevins, share wonderful chemistry and portray their relationship with fullness and nuance. Llerandi also takes on Ali — a composite character representing several Muslim passengers — with a performance that is especially poignant. In those moments, the show doesn’t shy away from the gut-wrenching suspicion and fear he faces, making his portrayal one of the production’s most affecting.

Jereme Raickett, as Bob, balances grit and warmth with understated delivery. He captures the character’s initial mistrust and discomfort, then reveals a gradual, believable transformation into openness and generosity. His nuanced performance provides some of the show’s most human moments, embodying the tension between fear and acceptance. James A. Skiba as Claude conveys authority with a gentle touch, embodying the steady leadership of the town’s mayor, while Steven Amburgey as Nick brings warmth and charm, capturing the openness of a visitor who quickly finds connection. Together, they embody the welcoming spirit of Gander with ease and authenticity.

Music That Moves With the People

The decision to feature a full live band adds immeasurable energy, especially when musicians join the cast onstage in “In the Bar.” Cathy Murphy Giddens’ musical direction ensures the score maintains its Celtic-inspired heartbeat, with standout work from Kim Zielinski on violin and Brooks Clarke on guitar and mandolin. Unfortunately, at times the sound balance in the house made it difficult to hear the band clearly. The mix leaned so heavily on percussion and vocals that it was difficult to hear the rest of the band, leaving much of the instrumentation lost and dulling the richness of the score. Still, the band’s presence gave the score an undeniable pulse, keeping the energy alive even when the balance faltered. The ensemble work is particularly tight, with vocal harmonies that lift numbers like “Welcome to the Rock” and “Something’s Missing” into moments of collective catharsis.

Design That Breathes Life Into the Rock

Tod Booth’s direction keeps the pacing taut, emphasizing the humanity of the story rather than the spectacle. Maureen Straub Craig’s choreography is subtle but purposeful, giving the stage a constant sense of motion without overwhelming the intimacy of the scenes. Costumes, designed by Camala Pitts and Dorinda Quiles, are deceptively simple, facilitating lightning-fast transitions while capturing the essence of each character.

The set, reminiscent of the Broadway staging, uses weathered wooden panels as a flexible backdrop. Johnny Pettegrew’s lighting design heightens the effect, with hidden color-changing lights reflecting off the back wall and softly diffusing through gaps in the wood. Their shifting tones evoke both the isolation of Newfoundland and the collective resilience found there, while mirroring the changing moods of the story and adding depth, dimension and drama. The result is a stage picture that supports the story’s tension without distracting from it.

Why This Story Still Matters

Come From Away is not an easy story to tell, and even 24 years later the subject matter can feel raw and close to the bone. Yet alongside the heaviness runs a current of laughter — in the quick wit of the townspeople, the unlikely friendships between strangers, and the moments of levity that surface even in the darkest hours. The music, humor and exuberance of the cast remind us that joy and grief can exist side by side. This is not a story about what happened in New York, Washington or Shanksville, but about how the rest of the world responded — how a remote town opened its doors out of necessity and simple decency, saying, in essence, “You would have done the same.” In doing so, it showed the very best of what humanity is capable of. The result is both remembrance and celebration — a musical that balances sorrow with hope and leaves audiences not only moved, but uplifted.

Come From Away runs Thursday, August 28 through Sunday, October 5 at the Alhambra Theatre.

For more information, full cast and crew credits and links to tickets, visit the Come From Away page here on JaxPlays.