Come From Away (Broadway) NYC Reviews and Tickets

"A big bearhug of a musical...Even the most stalwart cynics may have trouble staying dry-eyed during this portrait of heroic hospitality under extraordinary pressure...'Come From Away' is smarter than it first appears...The show covers a vast expanse of sensitive material with a respect for its complexity...It sustains an air of improvisational urgency, which feels appropriate to a show about making do in crisis, and it doesn’t linger on obvious moments of heartbreak and humanity."
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"A swelling heart of a musical...'Come from Away's' multiple narratives mostly have low stakes...When it touches on weightier concerns it falters; it is better at celebrating less consequential things...Under Christopher Ashley’s fluid direction, the 12 versatile actors form a true ensemble cast...Despite minor stumbles of craft, 'Come from Away' makes a persuasive case for the value of good intentions. For this kind of uplift you don’t need planes."
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"By no means the best musical on Broadway, but it’s surely the goodest...The production, tightly directed by Ashley, does its damnedest to knock you into submission. The songs are pleasant...In facing the problem of making its story palatable as a stage work, 'Come From Away,' despite its good heart, has possibly lost its way...That it may succeed in making the audience cry is a testament to its fine qualities, which are sufficient to position 'Come From Away' as a possible feel-good hit."
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"Creators Sankoff and Hein have crafted a heartwarming and thoroughly entertaining musical...Despite the doubling and tripling of roles, the numerous characters are all vividly rendered, thanks to the skillfulness of the writing and performances...Although not particularly memorable, the music proves consistently engaging and serves the story line beautifully...Serving as a welcome reminder of people’s inherent goodness, 'Come From Away' is the feel-good show of the season."
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"A feel-good musical about 9/11?...Save for one woman who cannot get in touch with her NYC firefighter son, our travelers are, at worst, disoriented and inconvenienced...The music is confident and lively, and the lyrics keep the story moving...The double-and-more casting underscores 'Come From Away’s' people-are-people theme. The point is struck somewhat heavily at times. But when the show threatens to feel pat, it helps to remember this all happened."
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"The cast is a hearty group and so good-natured they really put the lyrics across...Ashley keeps the traffic moving smartly...But there’s no getting away from it—as broad representatives from both camps of hosts and guests, the characters have no character...By the end of the show, the characters are scarcely more defined than they were at the beginning, and the monotonous music may be pounding on your head. But the intentions of the show are so heartfelt."
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"A gushily sentimental piece of theatrical yard goods that makes every mistake a musical can make...The results play like a volume of oral-history transcripts set to music, and the decision of the authors not to focus tightly on specific characters results in a cluttered, top-heavy show with too much exposition and not nearly enough development...If you’ve been waiting breathlessly for a gooey, uplifting musical about 9/11, your dream has come true."
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"Charming and emotionally resonant...'Come From Away' speaks the common language of just folks, and it sings and dances with the authentic inspiration of Newfoundland’s Celtic-based music...Hein and Sarnoff are not Sondheim. The folksy songs in 'Come From Away' are nearly all expository rather than revelatory...The show, staged with kinetic enthusiasm by Christopher Ashley, positively reeks of integrity–positive being the operative word."
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“The lump that forms in your throat in the opening minutes is the physiological confirmation that this effervescent musical, enveloped in Canadian good will, is an antidote for what ails the American soul...The alternating stories of the townspeople and the strangers in their midst are communicated vivaciously by book and songwriters Sankoff and Hein, in a bracingly kinetic production directed by Christopher Ashley, doing some of the most impressive work of his career. ”
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"The show insists on a kind of oral-history equality, constantly shifting from one narrator or protagonist to another...This was no doubt intentional...But it comes at the price of character development...The audience for this show will have been more impacted personally by the losses of Sept. 11...This show never explores that truth...To really do that, Ashley's production would have to be more willing to pause, breathe and challenge, and allow those impacted the most to come to the fore."
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"A big-hearted and crowd-pleasing musical...It's a story that sings...While rousing and rich in harmony, the music suffers from sameness and a sound mix that obscures lyrics...Quips are balanced with serious moments revolving around personal crises and cultural collisions, but the show could do with a bit more introspection...Director Ashley guides the excellent cast and energizing staging...It's a singing reminder that when things are at their worst, people can be at their best."
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"Sunny and overstuffed but well-meaning...It’s a heartwarming story told with high energy, not to mention an effective seminar on crisis management and a persuasive advertisement for Canadian tourism...But good intentions aside, 'Come From Away' has the depth of a Hallmark card and a pub rock score that is generic and unmemorable. In attempting to keep track of so many different people at once without pause, few receive more than superficial treatment."
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"The beautifully crafted musical leaves us not just feeling good, we’re transported on a wave of hope for humanity...A huge bravo to director Ashley who masterfully orchestrated the complex work...Sankoff and Hein created this wonderful work with a moving score that's both melodic and rousing...Every member of this extraordinary collaboration deserves the highest praise. With great warmth and humor, 'Come From Away' is a soul-stirring antidote to the terrors we face near and far."
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"A show that everybody needs to see...A thoroughly moving experience, brimming with humanity and tolerance. Admittedly, it's not without its flaws; Sankoff and Hein's sweet Celtic melodies have a tendency to blend in together, and the book could afford to flesh out certain situations with greater depth. But Ashley's fast-paced staging is mesmerizing, Devine's foot-stomping choreography is joyful, and an awesome onstage jam band plays Eriksmoen's driving orchestrations with excitement."
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"'Come From Away,' the inspiring, funny and kick-ass beautiful new musical...takes a true story that began on September 11th, 2001, and tells it in an exhilarating fashion that celebrates decency and human kindness...Director Christopher Ashley's production seamlessly moves from tense moments to humorous ones to unabashedly joyous ones...As long as 'Come From Away' is playing on Broadway, I will recommend it to everyone. Everyone."
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"Without making a fuss or employing dubious dazzlements, stirs one to the core...Under Christopher Ashley's swiftly paced, emotionally astute direction, a company of only twelve portrays everyone with seeming effortlessness...There are moments when, in its portrayal of such universal goodwill, 'Come From Away' flirts with becoming cutesy or too insistently upbeat; time and again, however, it steps back from the brink, reminding us that a world-shaking tragedy is taking place."
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"'Come From Away' can't escape its own generic nature; it lacks the necessary fuel. The story doesn't stun...What they have done is make the best of a bad arrangement. They've created one of the most energized and exhilarating evenings of static I've ever seen...Of the many things 'Come From Away' wants to be about, September 11 is pretty far down on the list. That robs it of the urgency, authenticity, and soul it would need to be a grand trek rather than a mildly pleasant detour."
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“Its real-life story is stirring and honestly heartwarming, the tunes sound friendly to the ear, and the whirlwind staging is so smart...A visit...finds the show to be in excellent shape...This documentary-style musical is rendered with compassion, humor, and insight...The score’s rhythmic, folk-rock music, which possesses a windswept, Celtic flavor, briskly drives along these compelling doings...Everybody should see this show.”
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"For once a 'feel-good' musical that also has depth and resonance! 'Come From Away' at the Gerald Schoenfeld Theatre takes on one of the darkest periods in our contemporary history and spins it into a goldmine of goodwill, compassion and gentle surprises."
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“It’s this truth that anchors ‘Come From Away,’ giving it a documentary-like power that is enhanced a thousand-fold by a driving musical score, the best ensemble acting you will see on any stage this season, and direction by Ashley that doesn’t deserve a Tony Award, it deserves a Nobel Prize…The result is a work that is, considering the events it depicts, restrained, delicate, and piercing…A cry-fest and an absolutely joyful expression of what is best in the human animal: compassion.”
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"There's certainly plenty to admire about 'Come From Away'...Director Ashley has done a masterful job of insuring that the 12 actors fluidly shift back and forth between their multiple roles...The resourceful staging and non-stop energy of the performers accomplishes its intent...Unfortunately, there are more than a few things missing...None of the characters really make strong, individual impressions...The music is catchy but repetitive and so abrasively loud that it's hard hear the lyrics."
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"Greater than the sum of its parts. The script is iffy. The music is not exceptional. The sound is so loud that the lyrics are often unintelligible. The talent, it should be noted is not iffy one little bit...No one will leave untouched by this show...The cast is beautifully directed and choreographed. Each actor plays more than one part, and their characterizations are so defined that we never, not for an instant, are lost in the transitions."
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"It is a refreshing, warm, and very humane tale that attends to the lump that will be in your throat, and the tears of love and compassion that will run down your cheeks, by also putting a big grin on your face...This writing team does create the most musically lovely story about that day in the most humanly way possible...Beautifully staged by the creative team, 'Come From Away' is one of the most singularly engaging new musicals to come to Broadway this spring."
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“Heartfelt but overly sentimental…It tries to tell so many little stories that there’s scant time to develop three-dimensional characters and substantial dramatic conflict. And the songs are pleasant but unmemorable…Director Ashley and choreographer Devine keep the show focused and lively...Given the divided state of our country today, there’s joy to be found in watching good folks look out each other. But it’s not enough to send 'Come From Away' soaring to theatrical heights."
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"I was worried that 'Come From Away' would be triggering. But the exact opposite occurred. The Canadian songwriting team of Sankoff and Hein are so eager to please that 'Come From Away' keeps a safe distance from the horror of 9/11...'Come From Away' is certainly feel good–also rhythmic, well staged, often funny...Much of the appeal of 'Come From Away' comes not from individual performances but from the precise and lively ensemble work, aided by an eight-piece band."
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"This feel-good musical is infectious, enchanting and just what this country needs right now...Director Christopher Ashley and his amazing 12-member cast recreate the story...Each have their moment to shine but they are a true ensemble...It is hard not to be moved. Even as I am writing this I find myself choking up...'Come From Away' is tuneful, smart and heartfelt, and is sure to have you leaving the theatre feeling just a little bit more positive than when you entered."
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"An excellent ensemble of twelve play both the residents and the guests, changing roles faster than you can blink...The style of the music is mainly Celtic folk. Many of the songs sounded alike to my untrained ear. There is one lovely number where several passengers pray, each according to his or her custom....Christopher Ashley’s direction keeps things flowing smoothly...Judging from the audience’s enthusiasm, Broadway will welcome this feel-good musical."
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"As songwriters, this duo relies on a strong percussive element that’s so incessant that their songs take on a militaristic flair. And they’re also very, very loud...Dialogue is shrill and disembodied from the actors, and when the ensemble sings any of the show’s foot-stomping anthems, the lyrics are indecipherable...Christopher Ashley directs the ground traffic, and when he finally gets all those stranded visitors back up in the air you will definitely experience their sense of relief."
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"The genius of this production, which I regard as the best new musical of the season, is that from the very beginning a skilled group of 12 actors thrillingly take on assorted roles and slip in and out of the characters in a free-flowing staging...The goodhearted nature of 'Come from Away' is at the forefront without being cloyingly sentimental...The show appeals to our finer qualities as human beings, and manages to be exuberantly entertaining at the same time."
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"A feel-pretty-nice musical. Think of the simple show as psychological training wheels, perhaps a way to ease us into the unbearable stories our playwrights might someday ask us to confront...The Gander people have a real untold story to tell, which Sankoff and Hein lay out with bits of overlapping narratives and folksy, stomping songs...Director Ashley gets solid, likable performances...Over five days, however, they get distracted into what feels just a bit too much like hootenanny camp."
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"There are 10 new titles debuting across the year, but 'Come from Away' towers over the rest in terms of originality and daring...Sankoff and Hein's folk-based score has an easy affability and an earnest sincerity. Christopher Ashley's production gives the show a homespun honesty, and the 12-strong ensemble company, each of whom plays multiple characters, invest it with real feeling and emotion...A musical that tells an unusual, unfamiliar 9/11 story with tact and tremendous feeling."
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"Alternately heartwarming and heartbreaking, 'Come From Away' reminds us of the simple truth that tragedy sometimes brings out the best in people. It’s a story we don’t hear often enough, and, yes, one worth going on about in song...It’s almost impossible to sit through 'Come From Away' and not think back to where you were on 9/11...Director Christopher Ashley’s lean staging works in part because his subject matter is already so vivid in our collective imagination."
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“It seems almost churlish to take apart such a blandly friendly show like ‘Come From Away.’ But bland it is, from the book to the songs to the choreography and pretty much every performance. The inescapable problem is that there is no dramatic story to tell…Any possibilities for tension are mostly ignored…Many of the characters are based on real people but they all feel anonymous.”
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"It is as simple in its focus as the acts of goodness and gratitude at its thematic core...It's not that 'Come From Away' doesn't approach tricky themes, but without much agonizing, it shines a positive light on them...From tragic source material, 'Come From Away' has wrought a work that emphasizes goodness and shared humanity. Whatever your cynicism levels around how that may sound on paper, resistance to the show-as-performed is pretty futile."
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“It’s a celebration of the best human instincts, and, particularly coming at this time, doesn’t seem at all hokey. It’s cheering and refreshing...’Come from Away’ tells its many-sided story in an effective, fast-moving style...The well-integrated songs, which range literally from foot-stompers to ballads, are mostly performed by the entire company, emphasizing the theme of community...Tells its story efficiently, but also with a sense of completeness. It’s a tale well-worth hearing.”
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“The small, multitasking ensemble certainly do their damnedest to keep looking on the bright side of world-historical catastrophe...But the show’s ode to triumph in the face of adversity quickly becomes repetitive in the absence of any discernible attempt to grapple with the full horror of the attacks…And there’s little sense of pathos in Sankoff and Hein’s jaunty, Celtic rock-themed score, which made me feel as if I had been locked in a particularly hellish ersatz Irish pub.”
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"A dignified, often funny new musical...Some of the characters are real; others are recognized to be composite sketches of the people whom writers Sankoff and Hein met. Inevitably, many of the portrayals feel like stock characters but the acting is excellent all around...'Come From Away' manages to find a spiritual angle to a horrific story, depicting the goodness in humanity while still allowing us room for the feelings of loneliness and fear that will always be connected to that time."
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"May be the most inspirational, feel-good, 100 minutes of bang-for-the-buck ticket you can buy this season...Director Christopher Ashley is a master at keeping various personal stories moving at an energetic clip...While the actors are energetic and enthusiastic, there is no time for character depth. In addition, Sankoff and Hein’s score fails to stand out with distinction, although the energy never sags...At its heart, 'Come From Away' is an extraordinary production."
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"The book, music and lyrics are the inspired work of Irene Sankoff and David Hein. With a cast of 12 backed by eight musicians, the production, for a Broadway musical, is relatively small-scale...But all of it is managed with big-time ingenuity by director Ashley...Story theatre techniques are used to the nth degree. The performers switch characters, from townspeople to passengers and back again...There are indeed a lot of upbeat goings-on...But the darker side of the events is hardly ignored."
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"Under Ashley’s non-stop direction, the stage is constantly in motion, which is useful in that it keeps the energy high, but distracting in that it never stops long enough for us to get to know anyone very well...Taken all together, it works...'Come From Away' is an important show for our troubled times. We need honestly drawn stories of hope and good will to come from the stage...It’s refreshing to have on the boards something as exuberant as 'Come From Away.'"
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"The musical manages to tell this story without mawkish sentimentality or manipulation, keeping things moving with a fluid staging that incorporates group numbers, solo spots, narration, heart, humor and a finale by the band...Things are generally sunny, yet believable. Finally, a musical not based on an old movie, but on an actual occurrences—it feels fresh and welcome."
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"A delightful new musical...This is a story about kindness and coming together, which feels like a balm in today's bitter, divided age...The music is fierce and lively and sometimes poignant. Director Christopher Ashley pulls the magic trick of keeping all the characters straight, as they whirl in and out of different characters. 'Come From Away' is a love letter—to Newfoundland, to New York, to what people can do if they set aside fear and hate. Don't miss it."
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"A brilliant achievement...The show makes you laugh and cry at the resiliency of the human spirit...The cast, all of whom play multiple roles, are quite simply fantastic. Christopher Ashley’s direction is letter-perfect, and Kelly Devine’s excellent musical staging includes a rousing opening sequence that helps to establish a small-town atmosphere for Gander. Alternatively funny and profoundly moving, 'Come From Away' is a brilliant example of all that musical theater can be."
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"Should warm the heart of even the world’s worst cynic. But the musical, directed by Christopher Ashley, has much more to praise. First there’s Sankoff and Hein’s spirited score, driving, buoyant and often tuneful, with an appropriately Celtic undertone...Then there’s the tremendous acting of the 12-member ensemble...It is a musical about people who do their best in the worst of times. And for this we can only say thank you."
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"Christopher Ashley’s direction is seamless. There’s not one wasted moment, it all moves with precise economy. All the pieces in 'Come From Away' fit so exactly, despite its feel-good nature, I couldn’t help but be aware of how it was structured—carpentered from real life stories, planed to take rough edges out, sanded smooth, then polished to shining inspiration."
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“Directed with his customary whip-smart precision by Christopher Ashley, the show offers the exhilarating combination of a set of feel-good stories with the hectic pace of breaking-news coverage. It doesn't dig deep: Its characters are rarely more than thumbnail sketches, and its lively music tickles the ear rather than catching the heart. But the overall shape of the event, told with smart skill and a generous spirit, has a sweet-tasting goodness to it."
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"Technically, there is nothing wrong with 'Come From Away.' The ensemble of the piece work amazingly together...A very upbeat and positive vibe of hospitality and community...Uplifting, entertaining, and enjoyable; it's easy listening...However, it certainly is not ground-breaking, precedent-smashing, or boldly innovative...Just exists...Somewhat boring and unoriginal...Feels as conventional, low-budget, and unspectacular as a school production and community theater musical."
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“Brilliant…It is this show’s ability to surprise and touch even the most cynical, jaded New York theatergoer that makes it so unusual and emotionally powerful… In addition to the outstanding cast, expertly directed by Christopher Ashley, there is innovative choreography by Kelly Devine…A musical that celebrates and glorifies humanity…It’s a new type of never-before-seen, uncharted musical territory much like 'Hamilton' was, and should also make musical-theater history."
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"As rousing, entertaining, and tremendously moving as any other show currently playing in New York...The show never gawks, sensationalizes, or trivializes the horrific events of that day. Rather, it renders the incomprehensible in real, richly human terms...If the show falls short in any way, it’s in its ambition to do too much...Director Ashley’s staging is, for the most part, slick and efficient, achieving the show’s multitude of character and location changes with dazzling effectiveness."
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"As reported, 'Come from Away,' appears to be the season’s sleeper...Kelly Devine brings an easy buoyant charm to the choreography, and Christopher Ashley’s direction leaves this humble tale in the hands of an earnest ensemble. But what is most refreshing is Irene Sankoff's and David Hein's book, music, and lyrics, which reveal grace in simplicity, and good faith in humankind."
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"A very entertaining musical that is given a near pitch-perfect production...The show is full of humor and a company of 16 talented performers play multiple characters with aplomb and warmth. Most of the music is sung in ensemble and is staged with imagination and skill...Much of the music sounds the same but it blends perfectly with the story...As the show progressed...something was tugging at me. This was 9/11...I felt almost a sense of guilt for being seduced by the show."
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"There’s an indescribable charm to 'Come from Away' despite the fact that it’s an ensemble, and that there are no big 'eleven o’clock' songs. You will not come out humming...But I do think the ensemble is so well directed and energized that they manage to infect the audience with a real sense of pathos about the situation. Also, and this to thanks to Sankoff and Hein’s book, there’s nothing maudlin going on...The whole cast should be praised. This is a show with a lot of heart."
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“Despite that it is really just an excellent off-Broadway musical trying to make it in the big-time world of Broadway, it’s pretty darned good with some excellent music and a great cast of unknowns…The music...is catchy and memorable and the ensemble cast who perform all the numbers are all incredibly talented…An excellent musical…A must small-time see."
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“Rarely has altruism and compassion been as deeply explored and conveyed, much less in a hundred-minute musical...Music and lyrics mesh seamlessly, as the portrayals switch on a dime from townspeople to passengers and back again…A uniformly excellent cast…The show is in constant motion, with locations evoked by simple shifts in alignment of chairs. You’re never in doubt about where you are, and for the duration of ‘Come from Away’ you wouldn’t want to be anywhere else.”
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"Why do you go to theater? Because it’s entertaining and fun. Because it opens your heart, teaches life lessons and transports you to another time, another place. Because, occasionally, it conveys the essential goodness and resiliency of the human spirit at the same, shared moment in time. That’s why I stood up and cheered...Director Ashley cleverly utilizes his talented cast of 12...The crowd-pleasing performance fittingly concludes on a life-affirming note."
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"Will make you laugh and cry and restore your faith in humanity...This Canadian export, written by the husband and wife team of Irene Sankoff and David Hein, and directed by Christopher Ashley, comes at a time when divisiveness is far more prevalent than inclusivity, where countries talk about building walls rather than building bridges...It’s one you won’t want to miss. If you see just one show on Broadway this season, this should be it."
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"The score is energetic and homey, though you won't leave humming any particular tune. The songs really run together, not because they aren't memorable, but because the pace of the show is so rapid and is directed in such a way that the action is nonstop with seamless transitions...Ashley's direction and Devine's choreography are beautiful in their simplicity...I never once felt that I was watching a scene, but rather a continuous stream of action and emotion."
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"This show has gorgeous music and lyrics. It is the CD I can’t wait to own...This show is entertaining, uplifting and sweet. It was the perfect afternoon out and a show you can’t help but love. I was tapping my feet to the fantastic Celtic rock music, and I had the best time. It is a must see...This show is very moving, and you might need tissues!"
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“Yes, ‘Come from Away’ is heartwarming. One cannot help but be moved and inspired by seeing the citizens of a tiny island band together and selflessly open their doors to help thousands of strangers. And yet something is missing. Although it is based on true, unique stories from 9/11, the musical seems to glaze over the actual tragedy of the events…It would be a more successful show if it dug a little deeper for context and meaning.”
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"Moved around stage with precision and theatrical acumen, the cast of twelve seems to be twice or three times the size...Throughout, there is high drive and a total lack of cynicism...Interaction between the players is loud, fast-paced, and mostly amiable...The lack of what might be called drama threatens to make the piece a minor effort...But it must be said, by the close, 'Come From Away’s' simple-in-a-good-way, stubbornly empathic/positive vibe moves us with its integrity."
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"One of the triumphs is how it so incredibly captures the culture of Newfoundland. It's a Canadian/Irish blend that is unlike anything we've seen in theater, and everyone involved clearly went above and beyond to accurately reflect the area. The score and book, by the married couple Irene Sankoff & David Hein, sounds authentic...What makes ‘Come From Away’ work is that it displays the exceptional generosity of humanity that took place in Newfoundland. This brings to Broadway a story of hope."
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"Why does this show seem like an extravagant shadow-play produced by the Canadian Tourist Board for an audience of Plato’s cave-dwellers?...It’s really a War-on-Terrorism reprise of Rodney King’s naïve plaint: 'Can’t we all just get along?'...Every tale of a utopian Land of Cockaigne is really the shell of a lie. For one thing, 'Come from Away' offers an escapist spectacle of unacknowledged white privilege...Crowing about it for 100 minutes starts to seem self-congratulatory."
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"A show that’s both moving and exhilarating. A versatile, multicultural cast of 12 men and women of all ages and sizes portrays both the passengers and the townspeople, seamlessly switching from one to the other, singing with strong voices and moving with precision...The ensemble is truly the star. Credit director Christopher Ashley with creating an organic, yet thoroughly professional feeling...It was downright refreshing."
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