Review: Come From Away Manila – A Community Story Told by Philippine Theatre’s Best

An all-star Philippine theatre cast brings Come From Away to Manila, deepening the musical’s message of collective care, volunteerism, and community in times of crisis.

THEATER REVIEWLATEST

Whil Gorumba

6/6/20258 min read

There are musicals that entertain, and then there are musicals that carry responsibility. Come From Away belongs firmly in the latter category. Since its Broadway premiere, the show has occupied a rare space in contemporary musical theatre, one shaped less by spectacle than by remembrance. Built around the real events following September 11, 2001, it tells the story of 38 planes diverted to the small town of Gander, Newfoundland, and the extraordinary response of its residents, who opened their homes and lives to thousands of stranded strangers. The musical’s power lies not in dramatizing catastrophe itself, but in focusing on what followed: human generosity, volunteerism, and the quiet logistics of compassion.

That focus makes Come From Away one of the most historically significant musicals of the past decade. It resists the impulse to monumentalize tragedy, instead choosing to document collective effort. There is no central hero, no antagonist, no single emotional arc that dominates the narrative. What emerges instead is a portrait of community under pressure, built through dozens of small, interlocking stories.

The Manila staging, which opened on June 6, 2025 at the Samsung Performing Arts Theater in Circuit Makati, arrived with a sense of occasion. Presented by GMG Productions, UnionBank, and Stages, this production was notable not only for the material itself but for the people entrusted with it. Dubbed, with some affection, as the “Avengers of Philippine theatre,” the cast brought together an all-star ensemble of performers whose careers span decades of local musical theatre history. In a show that demands absolute ensemble cohesion, the casting choice felt both ambitious and appropriate.

Come From Away is, by design, an ensemble piece. All performers play multiple roles, shifting fluidly between passengers, townspeople, pilots, and officials. There is no traditional lead, no hierarchy of narrative importance. That structure demands precision, discipline, and generosity from its cast, and this Manila production largely delivered on those demands. Watching these performers share space, hand off scenes, and build momentum collectively was a reminder of how rare it is to see such a concentration of experience on one stage.

The cultural resonance of this staging, however, went beyond theatrical novelty. In a Filipino context, Come From Away lands with particular force. The values that define Gander’s response to crisis—volunteerism, hospitality, communal responsibility—map easily onto the Filipino concept of bayanihan. The idea that a community moves together, carries burdens collectively, and acts without expectation of recognition is deeply familiar. This Manila production did not need to underline that connection. It was felt instinctively, in the rhythms of the performances and in the audience’s response.

The show’s staging remained faithful to the musical’s minimalist design. The set does not change in any substantial way from beginning to end. Tables and chairs are rearranged, performers shift posture and accent, and the world of the story is built almost entirely through language, music, and physical storytelling. That restraint places enormous pressure on execution. When Come From Away works, it is because every lyric lands, every harmony is intelligible, and every transition is clean.

This is where the opening performance faltered.

Sound issues during the first show were difficult to ignore. The mix often felt thin and metallic, flattening the warmth of the voices and occasionally rendering lyrics unintelligible. At times, the volume swung abruptly, moving from barely audible to distractingly loud. There was a noticeable moment when Menchu Lauchengco-Yulo, playing Beverly and other roles, appeared to sing with added force, likely compensating for microphone inconsistencies. Rather than amplifying the emotion, the effort drew attention to the technical problem itself.

These issues mattered more here than they might in another musical. Come From Away depends almost entirely on clarity. Without elaborate staging or visual distraction, the audience’s understanding of the story hinges on sound. When lyrics are lost or distorted, the narrative momentum suffers. On this opening night, the technical shortcomings occasionally disrupted what should have been seamless storytelling.

That said, the cast largely carried the show through those moments. Their collective professionalism was evident in how they adjusted, supported one another, and maintained focus despite the distractions. If this had been a less experienced ensemble, the evening might have unraveled. Instead, it held together through sheer performance discipline.

Among the standouts was Carla Guevara Laforteza, who portrayed Hannah and other roles. Her performance was quietly devastating. As Hannah, a mother stranded in Gander while waiting for news about her son Kevin, a New York firefighter, Laforteza resisted overt sentimentality. Her restraint made the character’s grief sharper, not softer. Vocally, she was exceptional, delivering her material with clarity and emotional control even amid the sound issues. Her scenes landed with weight, and her performance served as one of the emotional anchors of the evening.

The strength of the cast extended across the board. Sheila Francisco, Cathy Azanza-Dy, Caisa Borromeo, Mikkie Bradshaw-Volante, Becca Coates, Rycharde Everley, Topper Fabregas, Gian Magdangal, George Schulze, Chino Veguillas, Steven Cadd, and Mayen Cadd all navigated the show’s constant role-switching with clarity. Garrett Bolden, playing Bob and others, brought warmth and steadiness, while Lauchengco-Yulo’s presence added authority and emotional grounding.

Directed by Michael Williams with musical direction by Rony Fortich, the production showed a clear understanding of the material’s demands. The pacing was assured, transitions were mostly clean, and the ensemble’s cohesion suggested thoughtful rehearsal. If the technical elements catch up to the artistic intention, this staging has the potential to grow into something truly special over the course of its run.

By the end of the night, what lingered was not frustration, but promise. Despite its flaws, the Manila staging of Come From Away captured the musical’s essential spirit. It reminded me why this show matters, and why it continues to resonate across cultures. In a world increasingly shaped by division, Come From Away insists on cooperation as both necessity and virtue.

I’m giving Come From Away in Manila a 7 out of 10. It is a promising production buoyed by an exceptional ensemble and deep cultural alignment with its themes. With technical refinements, it has the potential to leave an even stronger mark. More importantly, it offers audiences a chance to experience a story that affirms the value of community, generosity, and shared responsibility. That alone makes it worth seeing.