Review: COME FROM AWAY at Stages St. Louis Spotlights Gander’s Post-9/11 Generosity

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Director Michael Bello Captures the Moving and Poignant Moments From Those Stranded in Newfoundland post the 9/11 Attacks

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Stages St. Louis closes out its 40th anniversary season with an emotional production of Come from Away. Directed by Michael Bello , Come from Away tells the story of the townsfolk in Gander, Newfoundland who took in thousands of refugees when their planes were diverted following the attacks on September 11, 2001.

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With American airspace closed, 38 planes were force to land stranding the passengers for five days. The residents of Gander and the surrounding communities housed and fed the stranded “plane people” for that week.

Come From Away is not a maudlin 9/11 story. It’s a joyful ode to humanity stemming from selfless kindness and immense generosity in response to a horrific tragedy.

The beauty of this show lays in its construction. The book, music, and lyrics are woven from interviews with the Canadian residents and the pilots, crew, and passengers who were on the planes. Writers Irene Sankoff and David Hein have penned a heartfelt tribute to the townspeople while telling real stories of the lifelong relationships that developed in just a few short days that felt like an eternity.

Director Michael Bello never lets his audience forget that these are the moving and poignant stories of real people based on actual events. He has cast actors who bring a salt-of-the-earth feel to their dual roles as Newfoundlanders and the people on the planes.

The 12-person ensemble, led by the lovable Kilty Reidy as the town’s mayor Claude, switch back and forth between characters with simple costume changes compliments of Costume Designer Catherine Lovejoy. Reidy quickly transforms to the mayor of a neighboring town by donning a fisherman’s bucket hat and changing his posture.

Amy Blake (Diane) and Jamie LaVerdiere (Nick) charm with their story of found love. Laverdiere’s Nick is adorably awkward as a middle-aged single Brit smitten by Blake’s sweet Diane. Their duet on “Stop the World” stings with the awareness that their five-day relationship is coming to an all-to-quick end.

That’s what Bello’s production does. He recognizes that every person’s story has a significant poignance. His emotional storytelling induces tears, barely gives you time to recover, and then smacks you with another tear-filled moment.

St. Louisan Zoe Vonder Haar reprises her role from The Muny’s production as Beulah, the motherly Newfoundlander. Beulah’s maternal instinct is to take control. Vonder Haar’s Beulah is rich in empathic compassion. She quickly connects and develops meaningful relationships with the plane people.

Beulah befriends Hanna ( Rheaume Crenshaw ), the mother of a missing NYC firefighter. Crenshaw paints Hanna with a sorrowful desperation and a grim realization of her son’s possible fate. Crenshaw and Vonder Haar forge an indelible bond between a distressed mother and loving caretaker.

The ensemble work includes a vivid portrayal by Aléna Watters of American Airlines glass ceiling shattering pilot Beverley Bass . Watter’s Bass is a strong backboned captain of a plane returning from Paris. She soars with the anthemic “Me and the Sky” recounting Bass’ drive to become the first female captain at American Airlines.

Bello pulls evocative comedic and dramatic performances from Leah Berry as animal protector Bonnie, Patrick Blindauer as town constable Oz, Nikita Burshteyn and Albert Jennings as feuding boyfriends Kevin T. and Kevin J, Antonio King as the BBQ grill stealing Bob, and Cara Palombo as newby TV reporter Janice.

Bello sets this production of Come From Away in a town pub where people gather to tell stories. Scenic designer Ann Beyersdorfer and lighting designer Sean Savoie developed a pub-inspired backdrop with subtle nods to airport runways and air traffic control maps. This is Beyersdorfer’s fourth set design in St. Louis this season with each one impressing in its functionality and attention to detail that gives a lighting designer a palette to enhance the directorial vision.

Savoie’s work heightens the emotion with his color shifts. His detailed spot work is dead on accurate. Credit the work of production stage manager Monica Dickhens calling the cues and executing flawlessly.

Beyersdorfer’s set had built-in, on-stage space for music director Jacob Carll and his 8-piece band. Carll doubled at the pub bartender and his violinist Abbie Steiling impressed with her folksy solo.

Come From Away is bursting with compelling stories of post-9/11 experiences. Each story told by this gifted ensemble layers on powerful, emotionally resonant accounts of that week in Gander. But at its core, Come From Away is a love letter to the lovely and generous residents of Gander who put their life on hold for a week to care for thousand of strangers.

Don’t miss stages heartwarming story of humanity. Come From Away continues at the KPAC through October 18, 2026. Visit stsgesstlouis.org for tickets and more information

PHOTO CREDIT: Phillip Hamer

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/st-louis/article/Review-COME-FROM-AWAY-at-Stages-St-Louis-Tells-a-Story-of-a-Towns-Selfless-Generosity-20260924)._