SHOWS & EVENTS 

Discover life as a Gander islander with the story of the 38 planes that were diverted to Newfoundland on September 11, 2001.

Come from Away is a critically acclaimed musical featuring a culturally relevant script accompanied by a deeply moving score by Irene Sankoff and David Hein. The show has earned global success with 37 award nominations, 13 of which resulted in wins most notably Best New Musical at the 2019 Olivier Awards and Outstanding Musical at the 2017 Drama Desk Awards. The show's global presence resonated across all audiences as an uplifting reminder of humanity's ability to come together, no matter what the circumstances. 

Come from Away is based on the true story of the time when the isolated community of Gander, Newfoundland, played host to the world. What started as an average day in a small town turned into an international sleepover, when 38 planes, carrying thousands of people from around the globe, when diverted to Gander's airstrip on September 11, 2001. Undaunted by culture clashes and language barriers, the people of Gander cheered the stranded travelers with music, an open bar and the recognition that we're all part of a global family. 

Come From Away gives theatres the opportunity to contribute to the worldwide impact of the show by implementing messages of kindness, unity, and resilience into their community. Come From Away is guaranteed to be a show for audiences to remember. 

Winner of 5 Tony Awards!

The sinking of the Titanic in the early hours of April 15, 1912, remains the quintessential disaster of the twentieth century. A total of 1,517 souls - men, women and children - lost their lives (only 711 survived). The fact that the finest, largest, strongest ship in the world - called, in fact, the "unsinkable" ship - should have been lost during its maiden voyage is so incredible that, had it not actually happened, no author would have dared to contrive it. 

But the catastrophe had social ramifications that went far beyond that night's events. For the first time since the beginning of the industrial revolution early in the 19th Century, bigger, faster and stronger did not prove automatically to be better. Suddenly the very essence of "progress" had to be questioned; might the advancement of technology not always be progress? 

Nor was this the only question arising from the disaster. The accommodations of the ship, divided into 1st, 2nd and 3rd Classes, mirrored almost exactly the class structure (upper, middle and lower) of the English-speaking world. But when the wide discrepancy between the number of survivors from each of the ship's classes was revealed - all but two of the women in 1st Class were saved while 155 women and children from 2nd and 3rd (mostly 3rd) drowned - there was a new, long-overdue scrutiny of the prevailing social system and its values. 

It is not an exaggeration to state that the 19th Century, with its social stricture, its extravagant codes of honor and sacrifice, and its unswerving belief that God favored the rich, ended that night. The musical play Titanic examines the causes, the conditions and the characters involved in this ever-fascinating drama. This is the factual story of that ship - of her officers, crew and passengers, to be sure - but she will not, as has happened so many times before, serve as merely the background against which fictional, melodramatic narratives are recounted. The central character of our Titanic is the Titanic herself.