When the Orlando Shakes production of Come From Away opens on Wednesday, Aug. 26, audiences will step into a story that is as moving as it is deeply human. The musical centers on the small Newfoundland town of Gander, where residents welcomed 7,000 stranded travelers after the Sept. 11 attacks grounded flights across North America, and the production’s actors say that spirit of generosity still defines the show today.
For performers like Jason Blackwater, Lindsay Bradshaw and Meka King, the show is not just a retelling of a historic moment. It is a living example of what happens when people choose empathy over fear, what happens when an ensemble works together so closely that no single performer stands above the rest.
“This show is a beautiful, heartfelt and funny ensemble show with phenomenal songs and a lesson about compassion in the face of enormous tragedy,” says Blackwater. “It’s about connection and interpersonal kindness.”
Bradshaw frames the story similarly: “The story of a small community in Newfoundland that shows the world the meaning of generosity, humanity and kindness.”
One of the defining features of Come From Away is its structure, in which just 12 actors portray dozens of characters, shifting quickly between roles, accents and emotional registers. All actors emphasize that the production’s strength comes from its collaborative nature.
“There is no ‘star,’ there are no leading performers,” says Bradshaw. “The cast is all working together to tell this story the entire time.” She notes that this mirrors the real-world community of Gander, where teamwork came naturally and became essential under extraordinary pressure. In her view, the production works because the actors must function as a unit rather than as separate soloists.
Blackwater, who has a background in improv, sees the same dynamic from a performance standpoint. “It becomes less about becoming a character and more about finding characteristics, or mannerisms, or costume pieces, that differentiate you from your other characters or your castmates,” says Blackwater. “What I enjoy about it is that the storytelling is much more immediate and situational.”
The cast’s personal stories also add texture to the production. For King, pursuing theater in this form wasn’t her first intention when it came to her education.
“I actually went to school for broadcast journalism. I wanted to be the next Oprah,” says King. “When I look over the past 10 years, almost at the beginning of my journey, I see now that this is what I do.”
King has spent the last eight years growing into the part, having auditioned for the Broadway production in 2018 and the national tour in 2021.
“I felt like I had the maturity and the gravitas needed for Hannah at this point,” says King. “The range of this role is what makes it so exciting.”
Bradshaw brings a different kind of history for the role. Rather, she reflects on her Broadway background and her role as the understudy for Glinda in Wicked, a long-running part of her career that shaped her as a performer.
“I think this show will challenge me to tell this story in a way that feels very real and grounded,” says Bradshaw. “There’s less whimsy and fantasy in this story, but just as much heart.”
These grounded qualities, for both actors, make these roles so especially compelling as it strips away the glamor of theatrical spectacle, and focuses on ordinary people responding to extraordinary circumstances.
All performers stress that Come From Away speaks strongly to the present moment, emphasizing that the show is accessible and immediate.
King’s most powerful reflection comes from one of the show’s most emotional scenes, when the passengers first learn what has happened on 9/11.
“We all felt the emotional weight of that moment so much so that when the scene was over and we went to take a break, there wasn’t a dry eye in the room,” says King. “Come From Away is just packed with great historical significance and heightened emotional impact.”
Blackwater feels the underlying message of the production gives it lasting weight, especially for audiences looking for a story that feels both entertaining and meaningful.
“The key thing about Come From Away is that while this awful thing is the inciting incident for the story of the musical, it isn’t what the musical is about,” says Blackwater. “I hope audiences are able to take away just a little more kindness to then give out from this show.”
Come From Away runs on various dates and times through Sept. 27
7:30 p.m. Wednesday, Aug. 26, Margeson Theater, Lowndes Shakespeare Center, 812 E. Rollins St., 407-447-1700, orlandoshakes.org, $65-$92.
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This article appears in Aug. 26-Sept. 1, 2026.