You know that feeling when you walk into a theater expecting a standard "musical" and walk out feeling like you’ve actually made 12,000 new friends? That is exactly what happens with Come From Away Kansas City audiences every single time the touring production rolls into town. It isn't just about the music. Honestly, it’s about that weird, specific intersection of Midwestern hospitality and a global tragedy that somehow turned into a celebration of the best parts of being human.
I remember the first time the show hit the Starlight Theatre. The air was thick with that Missouri humidity, but the moment those bodhrán drums started kicking, nobody cared about the heat. It’s a fast show. 100 minutes. No intermission. You don't even have time to go grab a second drink because the pacing is relentless, much like the actual events of September 11, 2001, when 38 planes were forced to land in Gander, Newfoundland.
The Gander Connection to Kansas City
Why does this show resonate so deeply here? It’s kind of simple, actually. Kansas City has always prided itself on being a "big small town." We get the whole idea of taking care of your neighbor. When the people of Gander opened their hockey rinks to store frozen food and their spare bedrooms for "plane people" they had never met, it mirrored the exact kind of "flyover country" kindness we see in the 816 and 913 area codes.
The touring cast usually stops at the Kansas City Music Hall or Starlight, and the energy in those rooms is electric. People aren't just there to see a Broadway hit; they’re there to remember a time when the world didn't feel quite so fractured. It's a heavy subject, sure, but it's handled with this incredibly sharp, Newfoundland wit that keeps it from ever feeling like a funeral.
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What the Critics (and Real People) Say
If you look at the reviews from the last few times Come From Away Kansas City had a run, the word "cathartic" comes up constantly. Local critics from the Kansas City Star and various theater blogs always point out the "Welcome to the Rock" opening number as a masterclass in exposition.
But forget the professional critics for a second. Talk to the person in the row behind you. You’ll hear stories about where they were on 9/11. In KC, that often means memories of the downtown skyline going quiet or the eerie silence over KCI airport. This show provides a weirdly safe space to process those memories without being beaten over the head with the political fallout that followed.
Behind the Scenes of the Touring Production
The logistics of bringing this show to a venue like the Music Hall are actually kind of insane. You’ve got a minimal set—just some chairs and a few tables—but those chairs are moved with such precision it looks like a choreographed dance. The "Come From Away" touring company is notorious for being one of the tightest ensembles in the business.
Because the actors play multiple roles (one minute they’re a Gander local, the next they’re a stranded passenger from Texas or England), the costume changes are basically non-existent. A hat goes on. A jacket comes off. Suddenly, the vibe of the whole stage shifts. It’s theater magic in its purest, most stripped-down form.
The Music: Why You’ll Have "Welcome to the Rock" Stuck in Your Head
The score is folk-rock perfection. You have a band (the "band" is actually on stage for most of it) that uses instruments you don’t see in a typical orchestra pit. We’re talking:
- Uilleann pipes
- Fiddle
- Bodhrán
- Penny whistle
It’s loud. It’s rhythmic. It feels like a pub crawl in the best possible way. During the "Screech In" scene—where the passengers have to kiss a fish and drink some questionable rum to become honorary Newfoundlanders—the audience usually starts clapping along so loud you can barely hear the lyrics. It’s pure joy.
Is It Still Relevant in 2026?
People ask me if the show is starting to feel like a period piece. My answer? Not even a little bit. If anything, the themes of Come From Away Kansas City feel more urgent now than they did when the show premiered. We live in a world that feels incredibly divided. Seeing a story where a town of 9,000 people feeds and clothes 7,000 strangers without asking for a dime or an ID is a necessary reminder that we aren't all terrible.
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It’s also one of the few shows that manages to be inclusive without feeling like it’s checking boxes. You have the story of Kevin J. and Kevin M., a gay couple dealing with the strain of the crisis. You have Ali, a Muslim passenger who faces the immediate, stinging onset of Islamophobia. You have Beverly Bass, the first female captain at American Airlines, singing "Me and the Sky"—a song that is basically a masterclass in character development through power ballads.
Planning Your Visit
If you’re catching the show next time it swings through Missouri, here’s the lowdown on the venues.
Kansas City Music Hall: The acoustics here are generally great for the folk-heavy score. However, the lobby is tiny. If you’re trying to meet friends before the show, do it at a nearby spot like The Phoenix or Corvino first. Parking is the usual downtown struggle, so just pay for the garage and save yourself the headache of circling the block for 20 minutes.
Starlight Theatre: This is a totally different beast. Seeing "Come From Away" under the stars is amazing, but it’s an outdoor venue. If it’s an August run, prepare to sweat. If it’s late September, bring a jacket. The sound carries surprisingly well for an open-air theater, but you lose a bit of the intimacy that the show thrives on.
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Common Misconceptions
One thing people get wrong is thinking this is a "9/11 musical." It’s not. It’s a "9/12 musical." It doesn't show the towers falling. It doesn't focus on the tragedy in New York or DC. It focuses on the ripples of that event. It’s about the people who were literally caught in the middle of nowhere and the people who decided to be their heroes.
Another thing? People think it’s going to be depressing. Honestly, I’ve never seen a show that makes people laugh this much. The Newfoundland dialect alone is worth the price of admission. "Stay where you’re at ‘til I comes where you’re ‘to" is a real phrase, and the show leans hard into that unique, beautiful culture.
Actionable Tips for Future Attendees
- Arrive Early: Because there is no intermission, if you are late, you are going to miss the entire setup. The first 10 minutes are crucial for understanding who is who.
- Listen to the Cast Recording First: Usually, I say don't spoil it, but the lyrics are fast and the accents are thick. Knowing the basic melody of "Blankets and Bedding" or "28 Hours / Wherever We Are" helps you catch the jokes you might otherwise miss.
- Check the Cast Board: The touring casts are incredible. Often, you’ll see actors who have performed these roles on Broadway or in the London West End production.
- Bring Tissues: You’ll need them for "Something’s Missing" and "Prayer." I don't care how tough you think you are; the phone call scenes will get you.
- Support Local Theater: While you’re waiting for the next big tour, check out the smaller companies in the KC area like the Kansas City Repertory Theatre or Unicorn Theatre. They keep the scene alive between the big blockbusters.
The legacy of Come From Away Kansas City isn't just about a successful ticket run. It’s about the way the city embraces the message. Every time the show leaves, it feels like the "plane people" are taking off all over again, leaving us with a little more perspective on what it means to be a good neighbor in a world that often forgets how.