“Come From Away,” which had pre-Broadway runs at the La Jolla Playhouse, Seattle Repertory Theater, Ford’s Theater in Washington and the Royal Alexandra Theater in Toronto, is also succeeding despite a lack of stars, a potentially off-putting connection to a traumatic event and a hard-to-understand title.

It has been selling well thanks to strong word-of-mouth and has benefited from its timing: Though it was written before Donald J. Trump became a presidential candidate, its celebration of global community and its depiction of how people can welcome strangers has been interpreted by many as an antidote to the xenophobia of the Trump era. It is also selling out most performances, although at a lower price point than “Dear Evan Hansen,” and it grossed about 90 percent of its potential last week.

“I sat there with tears in my eyes,” said one Tony voter. “It left me with a hopeful view of humanity, which I think we need right now.” Another Tony voter said, “I had the best 90 minutes of my life at that show.”

“Natasha, Pierre & the Great Comet of 1812,” which received the most Tony nominations this year, does not seem to be a significant factor in the race for best new musical; nor is the fourth nominee, an adaptation of the film “Groundhog Day.”