Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

“Come From Away” turns a national tragedy into an undeniably wholesome celebration of community. When I saw the touring production in sixth grade, I wrote in my review diary that it was a “breathless, human experience about collective healing.” The musical tells the story of Gander, a town in Newfoundland that took in 7,000 travelers after their flights landed unexpectedly on September 11, 2001. I still think it’s one of the most heartwarming musicals of all time, but I admittedly was not swept away by TheatreWorks Silicon Valley’s production.

TheatreWorks is a Tony Award-winning playhouse founded by Robert Kelley ’68, who also directs this production. I have no doubt that it was a daunting task to produce the show’s first regional production in Northern California, and Kelley nails the emotional beats — I laughed and sobbed and smiled. However, this rendition wasn’t quite breathless, perhaps because it felt as though the ensemble knew the ending rather than living and breathing the stakes of the piece.

The show also felt less raw because of the creative choices made by the production team. Kelley admitted that he and his team drew inspiration from the Broadway production, but there were some notable artistic changes.

“There’s a bit more scenic embellishment in the design, like the now-famous sign on the Gander Airport where all of these planes landed,” Kelley told BroadwayWorld. Kelley also incorporated immersive staging, which was often distracting. Instead of strengthening my connection to the story, I was reminded that I was watching a theatrical production, especially when it was a struggle to look at actors in the mezzanine since I was sitting in the orchestra. I love how “Come From Away” is entirely representational — a row of chairs becomes a plane and every actor plays too many characters to count — and I believe less is more when working within this style.

The text is still incredibly impressive, weaving together hundreds of interviews conducted by writers Irene Sankoff and David Hein. That said, I noticed this time around that the music isn’t particularly memorable. Beyond “Screech In,” the scene in which the passengers earn the “Newfoundlander” name, the best moments in the show do not contain singing. This makes the experience less satisfying since the marriage of music and story is the reason musical theatre exists.

I was also a bit confused by the prominence of Beverley Bass, the first female American Airlines pilot (played by Melissa WolfKlain). Her story is inspiring, but it feels disconnected from the rest of the show. With this, her number “Me and the Sky” doesn’t quite pack the punch it promises. I wish Sankoff and Hein had found another character to serve as our emotional anchor, which might also increase the strength of the score.

As a new title, “Come From Away” was subversive in its warmth, but as a regional theater staple, the heart more easily comes off as corny. The show certainly comes from a good place — trying to illustrate the wide range of effects of the attacks with a powerful message of unity — but it should be approached with more intention to maintain the spirit of the script.

“Come From Away” closes May 10. Get tickets here.

PS: I will note that I was disappointed to once again find myself drowning in a sea of gray hair at a theater. For all the talk about increasing access to the arts, regional playhouses like TheatreWorks need to do better.