When Tragedy Meets Theater: The Power and Peril of 'Come From Away'
There’s something profoundly unsettling—and yet, oddly compelling—about turning one of the darkest days in modern history into a musical. Come From Away, now playing at Thalian Hall in Wilmington, does exactly that. Based on the events of September 11, 2001, the production doesn’t shy away from the weight of its subject matter. But here’s the thing: it doesn’t wallow in it either. And that, in my opinion, is where its brilliance—and its controversy—lie.
The Human Side of History
What makes Come From Away particularly fascinating is its focus on the human stories that emerged from chaos. The musical centers on the small town of Gander, Newfoundland, which became an unexpected refuge for thousands of airline passengers stranded after U.S. airspace was closed. It’s a narrative of kindness, resilience, and connection—a stark contrast to the devastation that dominated headlines.
Personally, I think this angle is both its strength and its challenge. On one hand, it offers a much-needed reminder of humanity’s capacity for compassion. On the other, it risks sanitizing a tragedy that still feels raw for many. What many people don’t realize is that art like this walks a razor-thin line between honoring history and exploiting it.
Why Theater? Why Now?
If you take a step back and think about it, the choice to stage this musical in 2026 is intriguing. We’re far enough removed from 9/11 for it to feel like history, yet close enough for it to still sting. This raises a deeper question: when does a tragedy become ‘safe’ enough to turn into entertainment?
From my perspective, Come From Away isn’t just a musical—it’s a cultural litmus test. It forces us to confront how we process collective trauma. Do we use art to heal, to remember, or to distract? A detail that I find especially interesting is how the production avoids political commentary, focusing instead on individual experiences. This choice, I believe, is deliberate. It’s a way to make the story universal, but it also risks oversimplifying the complexities of the event.
The Power of Perspective
One thing that immediately stands out is the musical’s ability to shift perspectives. By centering on the people of Gander, it flips the narrative. Instead of focusing on the attackers or the victims in New York, it highlights those who responded with open arms. What this really suggests is that even in the darkest moments, there’s room for light.
But here’s where it gets tricky: does this narrative risk overshadowing the gravity of what happened? In my opinion, it’s a fine line. While the stories of Gander are undeniably inspiring, they’re just one piece of a much larger puzzle. What this really suggests is that art about tragedy must be handled with care—lest it become more about feel-good moments than historical accuracy.
The Broader Implications
If we zoom out, Come From Away is part of a larger trend in theater: the rise of ‘historical musicals.’ From Hamilton to Hadestown, there’s a growing appetite for stories that blend the past with contemporary storytelling. But what makes this particular production unique is its subject matter. It’s not just retelling history—it’s asking us to feel it.
What many people don’t realize is that this approach can be both a gift and a curse. On one hand, it makes history accessible to a broader audience. On the other, it risks reducing complex events to catchy tunes and emotional beats. Personally, I think Come From Away mostly succeeds in striking this balance, but it’s a reminder that not every story is meant for the stage.
Final Thoughts: A Musical That Makes You Think
As I reflect on Come From Away, I’m struck by its ability to provoke more questions than answers. Is it too soon? Is it too much? Or is it exactly what we need? In my opinion, the musical’s greatest achievement isn’t in its storytelling—it’s in its ability to spark conversation.
What this really suggests is that art about tragedy isn’t just about the past; it’s about the present and the future. It challenges us to remember, to empathize, and to ask ourselves: how would we respond in the face of such chaos? And that, to me, is what makes Come From Away not just a musical, but a mirror.
So, if you’re in Wilmington this July, go see it. But don’t just watch—reflect. Because in a world that often feels divided, stories like these remind us of what it means to be human. And that, in my opinion, is worth the price of admission.
