Come From Away

Walking into the auditorium at The Empty Space in Salford, I was immediately struck by the openness of the stage and the atmosphere it created. The set was simple yet evocative, designed to spark curiosity before a single line was spoken. At the centre stood a departure and arrivals board, a symbol that instantly conjured the world of airports and travel, but here it was transformed into a storytelling device. Behind it, a wooden backdrop framed the space, rustic and natural, reminiscent of the landscapes of Newfoundland where the story is set. Around the stage, chairs and tables were placed with careful precision, ready to be transformed into airplanes, cafés, or community halls. This flexibility of staging is one of the hallmarks of Come From Away, and it was clear from the outset that the creative team had thought deeply about how to use the space to its fullest potential.

This was my first time seeing an amateur production of Come From Away. Having already experienced the professional version, I was curious to see how a local company would handle the demands of a show that runs for nearly one hour and forty minutes without an interval. The musical is relentless in its energy, requiring the cast to sustain momentum and emotion throughout. To my delight, All Saints Musical Productions rose to the challenge magnificently. From the opening number to the final bows, the company delivered a performance brimming with vitality, emotion, and authenticity. They took the audience on a journey that was both deeply moving and joyously uplifting, capturing the essence of what makes this musical so special.

At the very beginning, there were some minor technical hiccups with the microphones. A few lines were lost, and occasionally it felt as though the actors were singing in the dark. Yet these issues were quickly resolved, and once the sound settled, the production found its rhythm. What impressed me most was how the cast did not let these early gremlins shake their confidence. They pressed on with determination, and soon the audience was swept up in the story.

The direction by James Schofield was a triumph. Come From Away is a show that relies heavily on ensemble work, with actors constantly shifting between characters and scenes. Schofield managed to bring together a group of individuals and mould them into a cohesive unit. The sense of unity on stage was palpable, and it gave the production its heartbeat. Every transition felt seamless, every interaction purposeful. The audience could feel the collective spirit of the performers, mirroring the collective spirit of the Newfoundland community that welcomed stranded passengers in the aftermath of 9/11.

Equally impressive was the choreography by Katherine Farrow. While she clearly drew inspiration from the professional staging, she was not afraid to make it her own. This balance between homage and originality gave the production a fresh energy. The formations were tight, the transitions smooth, and the timing impeccable. Katherine’s choreography captured the rhythm of the music and the pulse of the story, while also allowing the individuality of the performers to shine through. It was exciting to watch, and it added a layer of creativity that elevated the production.

Music is the lifeblood of Come From Away, and under the guidance of Chris Addington, the band delivered a performance that was both precise and heartfelt. Chris is no stranger to the world of amateur theatre, and his experience showed. The arrangements were spot on, capturing the Celtic‑folk flavour that defines the score. The band played with warmth and energy, supporting the singers without overpowering them. Their presence was felt throughout, and when Chris himself made an appearance at the end, it was a delightful surprise that underscored his integral role in the production.

The cast as a whole was strong, but several performances stood out. Louise Colohan, playing Beverley Bass, the first female captain for American Airlines, was simply outstanding. Her vocals were powerful, her acting nuanced, and her expression deeply moving. In her solo number “Me and the Sky,” she took the audience on an emotional journey through Beverley’s career, her triumphs, and her heartbreak. It was a show‑stopping moment that left the audience breathless. Hannah Edwards as Diane and Simon Ibison as Nick brought warmth and authenticity to their roles. Their relationship unfolded gradually, drawing the audience in with its tenderness and believability. They embodied the theme of human connection in times of fear, showing how even in the darkest moments, people can find comfort and love. Their chemistry was genuine, and it added a layer of intimacy to the production.

Victoria White as Janice, the reporter, was another highlight. She played the character with humour and warmth, balancing the comedic elements with sincerity. Her stance and commanding presence on stage were matched by her strong vocals and consistent accent. She captured the essence of Janice, a character who represents the voice of the outside world, and she did so with charm and conviction. The duo of Kevin T, played by Gavin Stamper, and Kevin J, played by Alex Re, brought authenticity and vulnerability to their roles. Their relationship was portrayed with sensitivity, highlighting the challenges of identity and acceptance in a time of crisis. Their performances added depth to the narrative, reminding the audience of the diverse experiences of those stranded in Newfoundland.

Rebekah Davies as Bonnie brought compassion and strength to the stage. Her character’s care for stranded animals was a poignant reminder of kindness in unexpected places. Rebekah conveyed this with sincerity, making Bonnie a memorable presence in the story. The friendship between Hannah, played by Alison Lawrence, and Beulah, played by Emma Ross, was beautifully authentic. Their interactions intrigued curiosity, and when Alison sang “I Am Here,” it was a deeply moving moment. The song captured a mother’s anguish and resilience, and Alison delivered it with emotional intensity that resonated with the audience.

Seb Farrell as Claude, the mayor, brought depth and humour to the stage. His performance grounded the production, providing moments of levity while also embodying the generosity of the Newfoundland community. He was a reassuring presence, and his characterisation added richness to the ensemble. Dean Chaudhri’s portrayal of Ali was particularly powerful. Ali’s storyline deals with themes of prejudice and fear, and Dean handled it with sensitivity and strength. His performance highlighted the challenges faced by individuals who were unfairly judged in the aftermath of 9/11, and it was moving to see how the community ultimately embraced him.

The musical numbers were consistently strong, but several stood out. “Welcome to the Rock” set the tone with its infectious energy, drawing the audience into the world of Newfoundland. “Me and the Sky” was a highlight for its emotional depth, while “Somewhere in the Middle of Nowhere” captured the joy and relief of passengers finding connection amidst chaos. Each song was delivered with passion and precision, and the ensemble harmonies were particularly impressive.

What struck me most about this production was how the company built on relationships throughout the musical. The authenticity of the interactions made the story feel real and immediate. The audience could sense the bonds forming between characters, and this mirrored the bonds that formed in Newfoundland during those extraordinary days. The production captured the themes of community, generosity, and shared humanity that lie at the heart of Come From Away.

By the time the final notes were sung, the audience was on its feet, giving the company a well‑deserved standing ovation. All Saints Musical Productions had delivered a performance that was unique and emotionally powerful. They had taken a story of global significance and made it resonate on a local stage. Their achievement was remarkable, and it was clear that they had poured their hearts into the production.

In conclusion, this amateur production of Come From Away was a triumph. From the evocative staging to the powerful performances, from the creative choreography to the heartfelt music, every element came together to create a memorable experience. The cast and crew captured the spirit of the musical, bringing to life its themes of resilience, generosity, and human connection. They made the story their own, and in doing so, they reminded the audience of the power of theatre to move, inspire, and unite. Congratulations to All Saints Musical Productions on a remarkable achievement. I look forward to seeing what you do next.

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