Come From Away

Come From Away is a show that thrives on honesty, humanity, and the power of storytelling, and this production captured all of that with remarkable clarity. From the moment the audience entered, the open stage immediately signalled that this was a world where nothing was hidden and everything was shared. There was no curtain, no elaborate scenic trickery, just an honest space waiting to be transformed by the people who stepped into it. The stage was scattered with around two dozen pieces of luggage, different shapes, sizes, colours, and levels of wear and this instantly created a sense of movement, displacement, and the chaos of unexpected travel. It also hinted at the clever multi‑use approach that would define the entire production. The musicians were placed visibly onstage, not tucked away in a pit, and this choice added a layer of intimacy and immediacy. Seeing the bodhrán, the fiddle, the accordion, and the guitars being played live, right there in the same space as the actors, made the music feel like part of the community rather than an external accompaniment. Their placement at the edges of the stage meant they were always present, always contributing, and always connected to the emotional pulse of the story.

At the centre of the stage stood a projection screen that proved to be one of the most effective storytelling tools in the production. It displayed maps, flight paths, news footage, and atmospheric textures that grounded the audience in the global scale of the events of 9/11. Even more impressive was the hole cut into the screen, which became a functional entrance and exit point. Characters appeared through it as if emerging directly from the narrative itself, and this design choice allowed for some beautifully fluid transitions. The luggage‑based plane sequence was a particular highlight. Suitcases became seats, overhead compartments, tray tables, and even cockpit elements. This was not only visually clever but emotionally resonant, reminding the audience that in times of crisis, ordinary objects take on extraordinary meaning. It was a stroke of genius, and the execution was seamless.

The choreography, created by Hannah Thomas, was strong, confident, and refined. “Welcome to the Rock” set the tone with its rhythmic footwork, grounded stances, and communal formations. The cast moved with precision and unity, capturing the rugged energy of Newfoundland culture. The choreography throughout the show balanced storytelling with musicality, never distracting from the narrative but always enhancing it. Transitions were fluid, with chairs and luggage constantly shifting to create new environments. The movement vocabulary remained consistent, rooted in authenticity rather than spectacle, and this allowed the emotional beats to land with greater impact. Hannah’s work demonstrated a deep understanding of the show’s heart: community, resilience, and the extraordinary power of ordinary people.

Vocally, the cast delivered a consistently strong performance. Every word was crisp and intelligible, which is no small achievement in a show that demands fast pacing, overlapping dialogue, and a variety of accents. The harmonies were tight and beautifully balanced, particularly in numbers like “Prayer,” “Me and the Sky,” and “Somewhere in the Middle of Nowhere.” Musical Director Tom Guest clearly ensured that the vocal blend remained rich and controlled, and the emotional core of each song was honoured. The band played with energy and sensitivity, supporting the cast without overpowering them, and the overall musical quality was exceptionally high.

The production was filled with lovely theatrical moments that deepened the sense of immersion. The use of torches was particularly effective, creating intimate pockets of light that drew the audience into the characters’ experiences. The transformation of luggage into multiple props and set pieces was consistently inventive. One standout example was the way suitcases became plane seats, a simple idea executed with such clarity that the audience instantly understood the environment without needing anything more literal. These choices demonstrated a deep respect for the audience’s imagination and a commitment to storytelling through suggestion rather than spectacle.

The accents carried by the characters were consistent throughout, which is crucial in a show that relies so heavily on regional identity. The Newfoundland dialect, with its musicality and warmth, was handled with care, and the various American accents were equally well maintained.

Jen Davies, as Beverley, delivered a performance full of strength and emotional depth. Her portrayal of the first female captain for American Airlines was both inspiring and grounded, and her rendition of “Me and the Sky” was a clear highlight. She captured Beverley’s pride, determination, and heartbreak with remarkable clarity. Jake Martin, playing Nick, brought charm and sincerity to the role. His chemistry with Diane was believable and tender, and he navigated the character’s awkwardness and warmth with ease. Emma Lester, as Bonnie, was full of heart. Her passion for the animals stranded on the planes was palpable, and she brought a lovely sense of humour and compassion to every moment she was onstage. Callum Stretton was outstanding as Oz. His ability to multi‑role with such clarity and precision was impressive, and his comedic timing was sharp and consistently effective. He shifted between characters with ease, always maintaining distinct physicality and vocal choices. Ruth Moore, as Diane, brought warmth, vulnerability, and a gentle optimism to the role. Her scenes with Nick were beautifully played, capturing the tentative excitement of two people finding connection in the most unexpected circumstances.

Ivor Farley played Claude with a wonderful sense of authority and kindness, embodying the steady leadership that the town needed during the crisis. Gilly Thompson, as Beulah, brought humour, heart, and a deep sense of community spirit. Her scenes in the school and her interactions with the passengers were full of authenticity. The couple Kevin J and Kevin T, played by John Dean and John Redfern, were portrayed with humour, affection, and emotional honesty. Their dynamic added both levity and depth to the story, and their performances were nuanced and engaging. Ryan Taylor, as Bob, delivered a performance full of charm and sincerity. His journey from scepticism to genuine connection was beautifully played, and his comedic moments landed perfectly.

The sound design by John Redfern and sound operation by Ben Wicks were exceptional. In a production where the cast rarely leaves the stage and where transitions are constant, clarity is essential. Every line, every harmony, and every musical detail was balanced and audible. The lighting design by David Jarvis was equally effective, shifting seamlessly between intimate moments and larger ensemble scenes. The lighting supported the emotional arc of the story without ever drawing attention to itself, which is the mark of thoughtful design.

Hannah Thomas has truly created something wonderful here. She took the audience on a journey that was both deeply emotional and full of joy, reminding us of the extraordinary kindness that can emerge in the darkest of times. This production honoured the spirit of Come From Away while bringing its own creativity, heart, and humanity to the stage.

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