POWERFUL PRODUCTION OF HIT MUSICAL COME FROM AWAY PLAYS IVORYTON PLAYHOUSE
By Kiersten Bjork (August 15, 2026)
No matter how many times I see Come From Away, I am always incredibly moved by this heartbreaking and yet uplifting story. Set during and in the days following 9/11, the show follows the citizens of Gander, Newfoundland as planes carrying thousands of strangers from all over the world, are diverted to the large airport in their little town. The “plane people” as they are dubbed, are frightened, they don’t know where they are or what is going on, and yet they find themselves welcomed with open arms by the Gander community. The story that ensues is powerful, to say the least. It will make you smile. It will inspire you to reflect. It most certainly will bring a tear to your eye. And it will leave you with the reminder that there are good people in this world–people who will step up and support each other, people who will take care of their fellow human beings because “well, you would have done the same for me,” and people who will offer you a warm meal, a hot shower, and a cozy bed when you need it most. Add into the mix a stellar book, music, and lyrics by Irene Sankoff and David Hein, and the final product is a musical that you won’t soon forget.
Todd L. Underwood directs and choreographs the production at Ivoryton Playhouse, which features a large ensemble of talented performers. The staging makes clever use of Ivoryton’s space, in collaboration with the scenic design for the show. I enjoyed the use of all of the wooden crates, which stand in for the many wooden chairs folks may be used to seeing in the Broadway production, and they provide the performers with additional options that chairs typically wouldn’t–including as additional storage spaces. The choreography is simple but effective, more stylized movement in most cases, but incredibly powerful when the entire company shares a sharp or synchronized moment. Angie Benson serves as music director, and brings out the best in this catchy score.
No matter how many times I see Come From Away, I am always incredibly moved by this heartbreaking and yet uplifting story. Set during and in the days following 9/11, the show follows the citizens of Gander, Newfoundland as planes carrying thousands of strangers from all over the world, are diverted to the large airport in their little town. The “plane people” as they are dubbed, are frightened, they don’t know where they are or what is going on, and yet they find themselves welcomed with open arms by the Gander community. The story that ensues is powerful, to say the least. It will make you smile. It will inspire you to reflect. It most certainly will bring a tear to your eye. And it will leave you with the reminder that there are good people in this world–people who will step up and support each other, people who will take care of their fellow human beings because “well, you would have done the same for me,” and people who will offer you a warm meal, a hot shower, and a cozy bed when you need it most. Add into the mix a stellar book, music, and lyrics by Irene Sankoff and David Hein, and the final product is a musical that you won’t soon forget.
Todd L. Underwood directs and choreographs the production at Ivoryton Playhouse, which features a large ensemble of talented performers. The staging makes clever use of Ivoryton’s space, in collaboration with the scenic design for the show. I enjoyed the use of all of the wooden crates, which stand in for the many wooden chairs folks may be used to seeing in the Broadway production, and they provide the performers with additional options that chairs typically wouldn’t–including as additional storage spaces. The choreography is simple but effective, more stylized movement in most cases, but incredibly powerful when the entire company shares a sharp or synchronized moment. Angie Benson serves as music director, and brings out the best in this catchy score.
The company of Ivoryton Playhouse’s Come From Away (Jonathan Steele)
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Stacia Fernandez, Dana Costello, and Joseph Dellger in Ivoryton Playhouse’s Come From Away (Jonathan Steele)
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Come From Away is very much an ensemble-based show, and I was very pleased with the company that Ivoryton assembled for this production. On the whole, they are a skilled bunch who play off of each other nicely.
Joseph Dellger–as Gander’s mayor, Claude, and others–is especially strong, playing up the humorous elements in his roles. Dana Costello takes on the iconic role of Beverly & Others with great success. She is grounded and fierce, knocking “Me and The Sky” out of the park. Mimi Bessette is delightful as Beulah & Others, and shares some particularly touching moments with Dee-Dee Darby-Duffin as Hannah & Others. The relationship that these two women share in the show is one that always sticks with me, particularly as the later events unfold, and Bessette and Darby-Duffin find the rawness well.
Vicki Welper is endearing in the Bonnie & Others track, taking care of the many animals found aboard the grounded planes. Miles Hanna is quite fun as Bob & Others, nailing the comedic timing of his lines, while also rounding out the cast of characters wearing plenty of additional hats. As Janice, Autumn Eliza Sheffy is wonderful, and I was moved by the way that she delivered some of those weighty lines. Janice is the reporter on the scene in Gander–new to reporting, and to the town, and this is the event that she is covering. Sheffy balances the almost bubbly personality of the character with the gravity of the stories that she is telling and the moments that she is recounting on air, and the resulting performance is truly special.
Logan Marks gives one of my favorite performances as Oz & Others. As Oz and some of the many additional characters wrapped into the track, Marks leans into the comedy, earning many a laugh from the audience. Patrick Steven Bovo and Jason Ivan Rodriguez portray Kevin T & Others, and Kevin J & Others, respectively. They make an excellent pair, ensuring we see the stark contrast between the two as the story progresses, but also delivering many fun and humorous moments. Bovo gives a lovely rendition of “Prayer.”
Opposite each other as Diane & Others and Nick & Others, Stacia Fernandez and Billy Clark Taylor are a wonderful duo. Diane is from Texas, Nick is from England, and while they seem to be worlds apart, tragedy is what brings them together. Fernandez and Taylor play off of each other nicely, and their exchanged glanced and shared moments are well done, particularly in “Stop the World.”
Joseph Dellger–as Gander’s mayor, Claude, and others–is especially strong, playing up the humorous elements in his roles. Dana Costello takes on the iconic role of Beverly & Others with great success. She is grounded and fierce, knocking “Me and The Sky” out of the park. Mimi Bessette is delightful as Beulah & Others, and shares some particularly touching moments with Dee-Dee Darby-Duffin as Hannah & Others. The relationship that these two women share in the show is one that always sticks with me, particularly as the later events unfold, and Bessette and Darby-Duffin find the rawness well.
Vicki Welper is endearing in the Bonnie & Others track, taking care of the many animals found aboard the grounded planes. Miles Hanna is quite fun as Bob & Others, nailing the comedic timing of his lines, while also rounding out the cast of characters wearing plenty of additional hats. As Janice, Autumn Eliza Sheffy is wonderful, and I was moved by the way that she delivered some of those weighty lines. Janice is the reporter on the scene in Gander–new to reporting, and to the town, and this is the event that she is covering. Sheffy balances the almost bubbly personality of the character with the gravity of the stories that she is telling and the moments that she is recounting on air, and the resulting performance is truly special.
Logan Marks gives one of my favorite performances as Oz & Others. As Oz and some of the many additional characters wrapped into the track, Marks leans into the comedy, earning many a laugh from the audience. Patrick Steven Bovo and Jason Ivan Rodriguez portray Kevin T & Others, and Kevin J & Others, respectively. They make an excellent pair, ensuring we see the stark contrast between the two as the story progresses, but also delivering many fun and humorous moments. Bovo gives a lovely rendition of “Prayer.”
Opposite each other as Diane & Others and Nick & Others, Stacia Fernandez and Billy Clark Taylor are a wonderful duo. Diane is from Texas, Nick is from England, and while they seem to be worlds apart, tragedy is what brings them together. Fernandez and Taylor play off of each other nicely, and their exchanged glanced and shared moments are well done, particularly in “Stop the World.”
Stacia Fernandez and Patrick Steven Bovo in Ivoryton Playhouse’s Come From Away (Jonathan Steele)
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The company of Ivoryton Playhouse’s Come From Away (Jonathan Steele)
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Scenic design by Starlet Jacobs evokes the Gander airport effectively, and seats most of the band onstage on raised platforms off to the left and right sides. While I enjoyed having the pit onstage, I do wish the actors didn’t have to duck under the platforms any time they wanted to enter or exit from the sides, which were the primary means of entering and exiting, besides the upstage double doors. Props design by Kat Schorn is strong throughout, and compliments the scenic elements well.
I was pleasantly surprised by the use of projections in the production–lighting and projection design by Jessica Drayton. There were some really neat moments of projection, like when the planes were finally taking off, that elevated the storytelling. The lighting was also well done, though there were few spots where actors disappeared momentarily underneath projection–though that could have been a mistimed cue call.
Costume design by Sean Spina and wig design by Alexina Cristante not only reflect the characters’ occupations and personalities in their garments, but the design choices also help pull off the hefty feat of distinguishing the many ensemble characters that the performers take on, beyond their named roles. From doctors to gym teachers, flight attendants to religious leaders, performers add coats or hats, take off scarves or vests, building characters up with each costume shift. While I have the advantage of having seen Come From Away a half dozen or so times, I thought the actors, director, and design team did nice work differentiating between characters, and it was always clear who was who.
Sound design by Rhian Franchebois is solid, however, I do wish there was a bit of a better balance between the soloists and ensemble on the large group numbers. We lost some of the quick solo lines that convey important detail amidst the powerful sound of the chorus. There were also some microphone issues at the performance that I attended. A performer’s mic began acting up, to the point that their mic was turned off for the final numbers of the show and we had a hard time hearing their lines and solos.
Despite a few technical troubles, the production of Come From Away at Ivoryton Playhouse is a great one. I highly encourage you to make a trip out to the theatre, whether you’ve seen the show before or are ready to experience it for the first time. It’s a moving story, told by a dedicated ensemble of actors that are pouring their hearts into each performance. You won’t want to miss it.
Come From Away plays August 6 - September 6, 2026, at Ivoryton Playhouse in Ivoryton, CT. Learn more and purchase tickets for upcoming performances at ivorytonplayhouse.org/our-season/come-from-away or by calling the Box Office at (860) 767-7318.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
I was pleasantly surprised by the use of projections in the production–lighting and projection design by Jessica Drayton. There were some really neat moments of projection, like when the planes were finally taking off, that elevated the storytelling. The lighting was also well done, though there were few spots where actors disappeared momentarily underneath projection–though that could have been a mistimed cue call.
Costume design by Sean Spina and wig design by Alexina Cristante not only reflect the characters’ occupations and personalities in their garments, but the design choices also help pull off the hefty feat of distinguishing the many ensemble characters that the performers take on, beyond their named roles. From doctors to gym teachers, flight attendants to religious leaders, performers add coats or hats, take off scarves or vests, building characters up with each costume shift. While I have the advantage of having seen Come From Away a half dozen or so times, I thought the actors, director, and design team did nice work differentiating between characters, and it was always clear who was who.
Sound design by Rhian Franchebois is solid, however, I do wish there was a bit of a better balance between the soloists and ensemble on the large group numbers. We lost some of the quick solo lines that convey important detail amidst the powerful sound of the chorus. There were also some microphone issues at the performance that I attended. A performer’s mic began acting up, to the point that their mic was turned off for the final numbers of the show and we had a hard time hearing their lines and solos.
Despite a few technical troubles, the production of Come From Away at Ivoryton Playhouse is a great one. I highly encourage you to make a trip out to the theatre, whether you’ve seen the show before or are ready to experience it for the first time. It’s a moving story, told by a dedicated ensemble of actors that are pouring their hearts into each performance. You won’t want to miss it.
Come From Away plays August 6 - September 6, 2026, at Ivoryton Playhouse in Ivoryton, CT. Learn more and purchase tickets for upcoming performances at ivorytonplayhouse.org/our-season/come-from-away or by calling the Box Office at (860) 767-7318.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.