As if you needed another reason within this gruesome political event to consider a move to the Great White North, as comes "Come From Away," a musical packed with this much Canadian goodwill you will wonder why the whole state was not given the Nobel Peace Prize.

That marine state, Newfoundland, is the locale of the heartwarming and eager-to-please musical, that had its official launch Wednesday night in Ford's Theatre. Its most persuasive character, in actuality, is the location itself, and much more importantly, the embracing soul of a rough-hewn folks who opened their arms and homes to 7,000 airline passengers marooned there around a few of the worst times in American history, Sept. 11, 2001.

The 15th anniversary of the terrorist acts which led to 3,000 deaths in New York, Pennsylvania and Washington -- and also a basic shift in how Americans think about the planet -- happens on Sunday. For anybody with even a poor memory of link to those occasions, the musical from the husband-and-wife group of Irene Sankoff and David Hein will hit to a spot on your gut you might have desired left undisturbed.

The musical, then, is all about a station of jealousy that yawned broad on 9/11 from the town of Gander, Newfoundland, in which 38 passenger jets were redirected and stayed there, since the U.S. government closed down its own airspace. Sankoff and Hein, who conducted interviews with regional inhabitants and "The Plane People" and written a score clarifying the galloping Celtic rhythms and instrumentals of all Newfoundland's native songs, need us to go through the transcendent goodness of Gander they found. In the wake of the unspeakable, they and director Christopher Ashley appear to be saying, it's crucial to talk of humanity's better character. This seems particularly consoling right here and now, when, amid the sound of a rancid presidential effort, the urge in a lot of our civic discourse isn't to participate, but hamper.

The often funny tale Sankoff and Hein twist, concerning the week where the city rallied along with the passengers from all over the world intermingled (and in a minumum of one instance, fell in love), isn't without its flaws. With the exclusion of a New York mother (Q. Smith) anticipating information of a firefighter son forfeited in Ground Zero, the passengers' primary concern is if they'll be permitted to finish their journeys.

However, this is a finally story of how individuals fought terror with love and helplessness with compassionate activity.

That is not to mention it shies away from darkness -- maybe not everybody's story ends happily ever after, and it will admit the premature and laborious loading of post-9/11 xenophobia. Nonetheless, it appears to practically dare audiences to adopt hope regardless of this. "Any people might have expired yesterday," one character states on Sept. 12. "It is like we are dared to view the world differently now."

This could all really rapidly become maudlin, also, but Sankoff and Hein's deftly composed musical just sometimes flirts with this, largely success at alerting us at the truth of their characters' scenario and which makes us genuinely care for them. Now Playing at the Gerald Schoenfeld Theatre - order come from away discount tickets online. Get Tickets to the Broadway Smash-Hit!

A superb live group under music manager Bob Foster encircle the gifted cast, and get to actually show their things using a blistering curtain telephone number.

It moves with excellent energy during its 100 minutes (together with, thankfully, no intermission to split its momentum).

Hein and Sankoff have pulled off a remarkable accomplishment here - a musical about the wake of 9/11 that is humorous, heartwarming, really moving and reminds us of this simple, utter decency which exists on earth at its finest, regardless of its worst.