Stage Review - Come From Away (Seattle Rep)
Stage Review - Come From Away
Presented By: Seattle Rep - Seattle, WA
Show Run: November 28 - January 04, 2025
Date Reviewed: Wednesday, December 3, 2025 (Opening Night)
Run Time: 90 Minutes (no intermission)
Reviewed By: Greg Heilman
I’ve said many times that Come From Away was my first introduction—not just to Seattle Rep, but to the Seattle theatre scene as a whole—when I came to see it shortly after moving here. Growing up on the east coast and being geographically close to the events of 9/11, the musical hit home in many ways. And as someone who has long loved Newfoundland’s Celtic-infused folk sound through bands like Great Big Sea, the music felt instantly welcoming, a familiar nod to the people, the island, and the storytelling traditions that anchor this show. Returning to Come From Away now, years later, feels like revisiting the moment I first fell into this region’s theatre community.
Brandon Ivie’s new staging reimagines this now-classic musical—running on stage at Seattle Rep through January 4—in a way that both honors that original heartbeat and reframes it with a fresh point of view. Presented as a look back during the 10th anniversary reunion between the Gander residents and the “plane people,” this production reshapes the musical into a celebratory retelling. Brandon and scenic designer Tim Mackabee have constructed the set as a near-lifelike recreation of the Gander High School gymnasium—painted walls, basketball hoops, wooden pull-out bleachers—immediately grounding the experience in communal memory. It’s designed to resemble one of Newfoundland’s famous kitchen parties, a concept that extends throughout the staging as the actors not only portray their characters but also join the onstage band, passing instruments among one another and creating a musical environment that feels joyously lived in.
What Brandon has assembled here is more of a celebration of the events that unfolded over 20 years ago. The original Rep production that eventually moved on to Broadway balanced the darkness of the circumstances that brought these planes to Gander with the deep well of humanity shown by the locals. That duality still exists in this version, though the emphasis shifts—less heavy, less steeped in the immediacy of crisis, and instead leaning into the rhythm of reunion and remembrance. If I have one criticism, it’s that the transition from “reunion” to the opening notes of Welcome to the Rock arrives abruptly, leaving little opportunity for the framing device to settle before we’re thrust into the story. But otherwise, this reimagining adds a new dimension to the Newfoundland spirit of generosity and hospitality that has always defined Come From Away.
The production operates at a brisk clip—quick dialogue, quick transitions, and quick spot lighting that isolates characters mid-story or mid-song. This pace is shaped not only by Brandon’s staging but also by the finely tuned choreography of William Carlos Angulo, whose work helps navigate the controlled chaos, the communal celebration, and the grounded calm that weave through the musical. Robert J. Aguilar’s lighting design requires actors to hit precise marks without room for deviation, and to Brandon’s credit, and the cast’s, Wednesday’s opening night performance navigated every shift cleanly. Even as microphone issues persisted throughout the show—mostly a few-second activation delay—the pace and clarity of the storytelling never faltered. The ensemble’s vocal blend is rich and full, the kind of big harmony that instantly envelops the audience, and the staging choices capture both the intensity and the emotional breadth of the story. Even the mismatched chairs feel intentional, part of a world that is lived-in rather than polished.
Supporting that pacing and emotional spectrum is the superb live band under the musical direction of Chris Ranney, whose musicians—Ben Power, Caitlin Warbelow, Elisa Money, Dave Pascal, and Ben Morrow—come together with a sound that carries the traditional Newfoundland folk heartbeat of the show. Their presence gives the production its pulse, coloring the storytelling with that unmistakable island warmth.
The couples' arcs receive sharper focus here, supported by Brandon’s staging and accented lighting that subtly guides the audience’s eyes to their evolving dynamics. The Kevins—Kevin J (played by Andrew Mayer) and Kevin T (Billy Finn)—are pulled apart in ways that feel particularly resonant in this version. Billy’s Kevin T is grounded by the warmth and acceptance of the Gander citizens, while Andrew’s Kevin J begins to unravel as his sense of personal security is shaken to the core. Rob Burgess and Vickielee Wohlbach, meanwhile, bring a tender authenticity to Nick and Diane, the older couple drawn together by tragedy and circumstance, portrayed here with a gentle curiosity that blossoms into something quietly beautiful.
This theme of multiplicity—of characters, of emotional landscapes—is embodied throughout the ensemble, who navigate a dizzying array of roles, accents, and physicalities. Full marks go to Dialect Coach Kate Myre, whose work is evident in the specificity of these transformations. Andrew Mayer’s dual performance as Kevin J and the Muslim chef is a standout example of this versatility, offering two distinct portraits shaped by energy, movement, and tone. Andi Alhadeff brings earnest determination to her role as the SPCA volunteer caring for the animals and pets on the grounded planes. Lauren Drake is wonderful as the brand-new reporter, capturing both the excitement and uncertainty of someone thrust into unexpected news coverage. Cedric Lamar gives deeply impactful dimension to the experience of being a man of color welcomed with open arms—an unfamiliar, almost disorienting kindness for someone raised in a very different environment. Richard Gray is solid and steady as the mayor of Gander (and, humorously, all surrounding communities), grounding his scenes with warmth and authority. The ensemble is rounded out by Eric Dobson, Maggie Hollinbeck, and Corinna Lapid Munter, each stellar in their navigation of characters and their varied story arcs, bringing texture and heart to every moment they inhabit.
The celebratory nature of the show comes to an head with the raucous Screech In number, but as quickly as it ramps up, the show’s emotional center pivots sharply, creating space for one of the musical’s most powerful songs. That song, of course, is Me and the Sky, led here by Merideth Kaye Clark as Beverley Bass. Merideth delivers a performance of extraordinary transformation. Her Beverley—the serious, composed career pilot—feels so distinct that you’d think an entirely different performer was playing Annette, the flirty, joke-spinning Gander teacher who fantasizes endlessly about men. It’s more than costumes or glasses; it’s her posture, her facial expressions, her voice. Each character fully inhabits her, and she them. And when Me and the Sky arrives, Merideth’s vocals soar—powerful, resonant, and absolutely worthy of sharing the same stratosphere as Jenn Colella’s definitive Broadway performance.
The production’s design elements reinforce the reimagined tone. Tim Mackabee’s gymnasium set is both specific and expansive, An-lin Dauber’s costumes maintain an authenticity that keeps characters rooted, and Ken Travis’s sound design mostly balances the onstage musicians with the actors despite the occasional microphone lag. Under the musical direction of Chris Ranney, the band—augmented by instrument-swapping cast members—creates a sound that both grounds and lifts the show, weaving the folk textures of Newfoundland into every musical transition.
Seattle Rep’s new production of Come From Away is one that feels like coming home—a gathering rather than a retelling, a space where memory and celebration live side by side. Brandon Ivie’s reimagining of this new classic may soften some of the darker edges, but it allows the warmth, humor, and humanity of Newfoundland to shine through with even greater resonance. For those of us who felt the impact of Come From Away the first time it played at the Rep, this staging offers a new way to reconnect with the story, the music, and the remarkable kindness that defined those extraordinary days. It’s a version that is absolutely worth revisiting—whether it’s your first time encountering the people of Gander or your fifteenth time returning to them.
Come From Away runs through January 4 in Seattle Rep’s Bagley Wright Theater. For more information, including ticket availability and sales, visit https://www.seattlerep.org/.
Photo credit: Bronwen Houck
