Avon Players opens its 80th season with the emotional musical, Come From Away, inspired by true events surrounding 9/11, running now through September 26, 2026, in Rochester Hills, Michigan.
With book, music, and lyrics by Irene Sankoff and David Hein, Come From Away features a high-energy folk score and a lot of heart. In my opinion, it is one of the most poignant plays ever penned.
Canadians are widely known for their friendliness. On September 11, 2001, that hospitality was put to the test when “the plane people” – 7,000 humans, plus 19 animals, landed in Gander, Newfoundland. Over the course of five days, the residents of Gander dropped everything to accommodate people of different religions and ethnicities without giving it a second thought. They even paused the school bus drivers’ strike and hockey to take care of people they’d never met.
Twelve actors play a carousel of 70+ characters, telling the story from multiple perspectives. This production of Come From Away is extremely well cast and spot-on with the numerous accents, which isn’t as easy as it sounds when you’re constantly switching back-and-forth. What makes Come From Away unique is that it’s deeply personal and requires passionate commitment from those on stage. Every actor in this production delivers a heartfelt and gut-wrenching performance with pockets of humor peppered throughout. The stage is purposely sparse to keep the focus on the content. Your mind fills in the rest.
Four cast members made their Avon Players’ debut, and I hope we see them in future productions. Doug Clark is fantastic as Claude, the gregarious Mayor of Gander. He completely commits to the role as a man unprepared for what is happening, but who has everyone’s best interests at heart. Catherine Flores primarily plays Hannah, a mother of a NY firefighter who desperately wants news about her son. Her solo, “I Am Here,” gave me chills. Bob is a cynical New Yorker who is suspicious of the Newfoundlander’s kindness. Alex Link plays him with a booming voice and fantastic stage presence. Finally, Patricia Rutkey plays Diane, a divorcee from Texas, who unexpectedly finds a whole other side of herself in Newfoundland (“Screech In”).
The rest of the cast is equally impressive.
The Plane People: Ryan Gigliotti (The Prince of Egypt) plays a socially awkward English businessman who is smitten with Diane. As Kevin J., Tarek Murray (A Gentleman’s Guide to Love and Murder) is sarcastic and anxious to leave, while his boyfriend Kevin T., Geoff Wickson (The Hunchback of Notre Dame) is willing to make the best of their situation, which strains their relationship. Wickson’s solo on “Prayer” is pure balm for the soul amidst the chaos. Caitlin O’Brien (Bright Star) shines as Captain Beverly Bass. She is a pioneering pilot passionate about flying and is keen to get her passengers to their original destination. O’Brien’s interpretation of “Me and the Sky” is one of the highlights of the show, and when she utters “I’m fine,” it is a sacred moment that sent shivers up my spine.
The Gander Residents: As Bonnie, a mother and the head of the Gander SPCA, Hannah Johnson delivers a no-nonsense performance that’s fun to watch. RJ Miller-Zelinko (Sweeney Todd: The Demon Barber of Fleet Street) plays the lovable and quirky constable Oz who does whatever he can to help out. Imagine covering an international news event your first day on the job. That is exactly what happens to Janice, played by Nikki Mullaly (The Curious Incident of the Dog in the Night-Time). Mullaly wonderfully expresses innocence and compassion while trying to remain professional. Finally, Pam Plewa (Mamma Mia!) delivers a comforting presence as Beulah, the town ‘mom.’ She strikes up a sweet friendship with Hannah and bonds over their children. Plewa is so convincing in this role; I wanted to hug her and have her tell me everything is going to be okay.
Come From Away is emotionally layered. During the show, the characters take you through a range of emotions: Scared. Heartbroken. Isolated. Angry. Defensive. Prejudiced. Cynical. Guilt. Thankful. Helpless. That is what makes Come From Away so special. It is more than a musical. It is a tangible touchstone for those who lived through that day and all the days afterwards. Come From Away is a reverent remembrance for those who lost someone in NYC and for those who were thousands of miles away and still felt the pain.
Saturday night, the full house was locked in and deeply invested in what was unfolding on the stage. And as the last note faded away, the actors were given a well-deserved and rousing standing ovation.
During the “Finale,” Claude says, “Tonight we honour what was lost, but we also commemorate what we found.”
As we mark the 25th anniversary of this tragedy, Come From Away reminds us that we are stronger when we come together and that the best way to honor the memory of 9/11 is to recommit to being the person you were on September 12 and the days that followed. We all come from away.
Whether you remember where you were on that fateful day or simply want a deeper understanding of its historical significance, Avon Players’ production of Come From Away is a must-see experience.
This performance runs for two hours with a 15-minute intermission.
Come From Away is rated PG-13 for occasional adult language and references to real-life violent events. The show is presented through special arrangements with Music Theatre International. All authorized materials are provided by MTI.
Ryan Moore directs Come From Away with Mark Misch as producer. Ron Pietrantoni is the music director, John (JD) Deierlein is the vocal director, and Nick Kibler serves as sound designer. The choreography is by AJ Liante. Costume design is by Jill Blazis-Sloan, along with lighting design by John (JD) Deierlein. Set design is by Jeff Stillman, and set dress/properties by Patty Hagel.
Tickets for all shows are $35. Call 248-608-9077 for tickets or order online. Discounts on group rates are available by calling the box office. “Like” Avon Players Theatre on Facebook for special offers on tickets. All major credit cards are accepted. All seats are reserved. Remaining show dates and times follow (note the new evening showtimes for the 2026-2027 season):
- Sunday, September 13; 2:00 p.m.
- Friday, September 18; 7:30 p.m.
- Saturday, September 19; 7:30 p.m.
- Sunday, September 20; 2:00 p.m.
- Friday, September 25; 7:30 p.m.
- Saturday, September 26; 7:30 p.m.
About Sarah Hovis