“Come From Away” tells the story of the 9,000 residents of Gander, Newfoundland who took care of some 7,000 passengers and crew of 38 airplanes that were forced to land at the local airport because of the September 11, 2001 attacks. The production has gained fans for its foot-stomping Celtic-flavored music, the tight ensemble work of its 12-member cast, and its heartwarming view of humanity, as it’s traveled from La Jolla to Seattle to D.C. to Toronto. But now that it’s in New York, it has to deal with people like me.
As I wrote on the 15th anniversary of September 11th,I was across the street from the Twin Towers on the morning of September 11, 2001 when they were attacked. When an out-of-town friend visiting New York recently bought me a ticket to the 9/11 Memorial Museum, I couldn’t bring myself to go.
So I was worried that Come from Away would, in contemporary parlance, be triggering. But the exact opposite occurred. The Canadian song writing team of Irene Sankoff and David Hein are so eager to please that Come From Away keeps a safe distance from the horror of 9/11.
Come From Away focuses on the kindness of strangers, and how they ease the fear and inconvenience of the “plane people,” some 1,500 miles away from any real danger.
This is not really a “9/11 musical,” then, but it will certainly be seen that way. The question thus arises: Are we so battered by the trauma of actual events that the only stage depictions we welcome about them are feel-good entertainment?
The answer seems to be yes, judging by the enthusiastic embrace of this musical
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