Come From Away

Come From Away is a new musical that has quickly become one of the modern greats, and, since the first time I heard it, one of my top five.

The story of how the Newfoundland town of Gander welcomed thousands of unexpected visitors in the days following 9/11 is a heartwarming one, and should leave you with a sense of pride and hope. The original concept of the show is that a cast of twelve performers play a handful of characters, each with their own story to tell. With those stories come prejudices and perceptions based on how someone looks, worships or even, to a lesser extent, speaks.

Ulverston Amateurs decided to split the roles over more than 'just the twelve' to give the whole society a chance to be part of what is to me, an incredible show. I must admit, I wasn't sure how this would affect my enjoyment of the show, as the 'twelve cast' were (in my mind) one of the purest forms of musical theatre I have seen. So, it was with some trepidation, I took my seat.

How wrong I was! The story of the unexpected guests was beautifully brought to life by a talented local cast, whose energy and heart filled every corner of the hall.

Vocally, the company excelled.Every performer projecting confidently with a real understanding of their characters and their individual stories and the blend in the ensemble numbers was outstanding.

 Nicky Diggle gave a commanding and heartfelt performance as Captain Beverley Bass- her rendition of "Me and the Sky" earning well-deserved applause. 

Steve Thompson and Craig Mitchell brought warmth, humour and humanity to their roles of Kevin T and Kevin J. Both played more than one role-Craig was equally as impressive as Ali and Steve's confidence vocally shone through.

Beulah Davis is basically the character, resilience and heart of Gander. Sue Little was perfectly cast as Beulah- committed to ensuring that Gander is prepared for the strangers, resilient and a rock for others when needed- this was especially poignant in how she was in comforting Hannah in her grief.

Clare Coulston (Hannah) offered us a deeply touching portrayal of a mother’s anguish and pain at the loss of her son.

Rob O'hara obviously relished playing the role of Claude- the well-liked Mayor of Gander, who obviously had never needed to deal with something as vast as this situation.

Adam Atkinson-Booth gave us a great performance as the down to earth cop, Oz.

Helen Day as animal loving Bonnie Harris provided just the right amount of frustration with everyone around her as she tried to ensure that the animal's welfare was taken care of. 

Janice Mosher - the eager local TV reporter thrown into the chaos on her very first day was played well by Kim Huck.

Michelle Hodgson and David Salmon gave us some lovely moments as the Texan divorcee Diane Gray and Nick Marson, the rather uptight Englishman whose relationship grows throught the story.

Annette, Doloris, Muhumutza, Brittany, Terry, Martha, Crystal, Margie ( Laura Anderton, Jenny Schofield, Nikki Beardsley, Bob Needham, Angela Nevison, Sarah Pye, Sue Rathbone) all added memorable turns, finding the balance between lightness and sincerity that makes this show such an emotional rollercoaster. 

Special mention must go to Andy Bond- as I've stated before, a lot of the humour and the prejudices in this show are based on judgemental attitudes, whether skin colour or religion- the role of Bob is one such role. Andy's comic timing and delivery were perfectly executed, and in a way that none of the above was brought into question.

The full ensemble shone in the big numbers, with “Welcome to the Rock” and “Screech In” capturing the heartbeat of both the town and the story itself.

The set was simple but effective — wooden chairs and minimal props, allowing the fast-moving story to unfold with cinematic clarity. Scene changes were slick and purposeful, and the sense of place was conjured more through the sincerity of the performances than any elaborate staging - though I'd wager there was a lot of exasperating chair rehearsals before we got to that point.

For the most part, lighting was sharp and well-coordinated. On the odd occasion, one felt that principals were moving into a light that wasn't there- nitpicking I know, but I felt I wanted to see the person telling their story. That said, the shifting from the starkness of airports to the warm glow of community was subtley impressive.

Musically, the band under the direction of Lizzie Greaves was exceptional — a driving force that never overpowered the singers but gave the Celtic-inspired score its signature punch and momentum. 

The use of onstage musicians helped blur the line between pit and performance, creating a sense of shared storytelling that drew the audience in.

Whilst there weren't any big dancy numbers in this show, choreographer Katie Postlethwaite had a lot to do- especially with so many men in the cast! Katie must be really pleased with what she and the ensemble achieved.

Direction by Russell Palmer was precise and emotionally intelligent, making the most of the Coronation Hall’s broad stage to convey both intimacy and community. 

The audience’s response said it all — laughter, tears, and a standing ovation that felt utterly deserved. Come From Away is a demanding piece, both technically and emotionally, but this Ulverston production rose to the challenge with compassion, clarity, and spirit. 

It was a triumph of ensemble storytelling — and a reminder of how kindness, even in the darkest moments, can light up the world.

Thank you, Ulverston Amateurs, for your invite.

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