by Beth DeHart
Our grandparents could tell us where they were when they heard the news that Pearl Harbor had been attacked. Our parents could tell us where they were when they heard that John F. Kennedy had been assassinated. We can tell you where we were on the morning of September 11, 2001.
The attacks on America that day changed our nation forever. Twenty-five years later, it can be hard to believe that so much time has passed. To those of us who lived through it, it certainly doesn’t seem that long ago. Yet much has come from the tragedy of that day, including many beautiful things—art, music, and even theater.
On September 11, 2026—25 years to the day after the horrific events of 9/11—Village Square Theatre opened its production of Come From Away. Director Pat Gagliano mentioned that dozens of theaters across the nation did the same. It seems fitting that, on this anniversary, theaters would offer something beautiful in homage to a day remembered for terror and tragedy.
Come From Away is the celebrated musical by Irene Sankoff and David Hein about the small town of Gander, Newfoundland, which welcomed 7,000 stranded airline passengers in the aftermath of the September 11 attacks. When the United States closed its airspace, planes already in the air were diverted to destinations far from where their passengers expected to land that day.
At its heart, Come From Away is a simple story about human kindness—and one very worth seeing. But it is also a carnival of movement, action, and remarkable music.
Pat Gagliano admits that Come From Away is his favorite musical, which is saying something for someone who has spent more than four decades in theater education. That experience is evident in this production. Gagliano’s direction allows the performers and the people they portray to shine, which is ultimately what this story is about.
The set, effects, lighting, and costumes are intentionally minimal, allowing the story to take center stage. There is nothing grand about these people or their lives. They are ordinary people who harness their ordinary kindness to change the lives of the “plane people” forever.
The show features a true ensemble cast, with every actor playing multiple roles while singing, dancing, carrying chairs, and changing costumes—all seemingly at once. The cast does a beautiful job juggling the many fast-moving parts of the production.
The only permanent piece of scenery is the enormous painted scene at the back of the stage depicting Gander as seen from an airplane window. Everything else is created through chairs, a few tables, and quick costume changes. The cast appears completely at ease with all these moving parts, with nary a hiccup or hang-up. They move effortlessly through shifts in energy, tone, humor, and emotion, keeping the audience fully engaged. This production is unpretentious yet powerful. On opening night, the audience could not get out of their seats fast enough to offer a standing ovation.
Hats off to Amanda Hines Wrona for excellent music direction and to Katie Hilliger Page for impressive dance choreography. The full cast deserves mention by name, as each person played an equally key role in presenting the story: Heather Miller, Kaeleigh Miller, Olivia Wamai, Kristin Ferrante, Caroline Clarke, Kristi Parker Byers, James Galluzzo, Nick Good, Eric Jewell, Jordan Mendenhall, Todd Gustafson, and Frank Thompson.
Kudos also to Matthew Fuller for scene and lighting design, Melissa Sheppard for costume design, Vicky Saye Van Horne as Associate Director, and Paula Riddle for her excellent Ugly Stick artistry!
Columbia continues to produce some incredible vocal talent, and this production is further evidence of that. One of the overarching highlights was the cast’s lovely harmonies and beautiful vocal pairings. Three moments in particular were enthralling: “28 Hours/Wherever We Are,” “Stop the World,” and “Somewhere in the Middle of Nowhere.” The vocals, energy, and storytelling in each were simply delightful.
We’ve all had those evenings that ended with the thought, There went two hours I’ll never get back. But if your evening includes seeing VST’s Come From Away, you won’t feel that way… Instead, you’ll go away singing “I’m an Islander,” and you may find yourself wondering when you can see the show again.