Come From Away – Review by Geoff DeManser

Come From Away isn’t your typical Musical with flashy sets or massive dance numbers. Instead, it’s a 100-minute rollercoaster of real-life emotion, fuelled by one of the most unique and heartfelt true stories ever told on stage.  The show recounts the events of September 11, 2001—but not from New York or Washington D.C. Instead, it takes us to the tiny town of Gander, Newfoundland, where 38 planes were unexpectedly grounded after U.S. airspace was closed. In a matter of hours, the town’s population nearly doubled, and the locals had to scramble to house, feed, and care for nearly 7,000 shell-shocked, confused, and scared passengers from around the world. 

It sounds like a disaster movie waiting to happen, but instead, what you get is a masterclass in humanity. Kindness, resilience, and compassion are centre stage.

Staging & Direction

The directorial duo – Ali McLaren and Aradie Blake

Ali and Aradie have impressively achieved the balance of choreography, casting, and direction over two casts – yellow and blue team. Every movement and action on stage has clearly been carefully considered and is delivered with purpose and intention. The transitions between scenes and characters are flawless and reflects their planning and attention to detail.

There is a carefully considered balance in both teams and the strengths of the various cast members work perfectly to deliver the show. Ali and Aradie have ensured the stories of each of the characters are presented and delivered with the compassion and care essential when remembering the events of September 11 2001. The actors all play multiple roles—locals and "plane people" alike—and they switch so seamlessly that you forget it’s the same person. It’s a tight ensemble, and no one hogs the spotlight, which fits the show’s theme of community over individual heroism. You’re not watching acting or a show, you’re watching people sharing their stories and they have been able to this in a raw and honest manner – which is kind of the point.

The direction by Ali and Aradie is sharp, fluid, and lets the actors and story breathe without dragging. There are essentially thousands of subtle, deliberate and considered movements the cast need to make and these work perfectly in symbolic, symbiotic and synchronised harmony.

The Cast & Characters

It is important to note that there are two casts Yellow and Blue. Both casts bring slightly different versions of the show but the story telling is a standout in both. It really doesn’t matter which version you see and if I was asked to offer a preference, I would honestly suggest it’s worth seeing both versions.

It feels unfair to the other magnificent actors to single out any individuals when all eleven of the performers, in both of the casts, are amazing.

The Music

A Celtic-rock-infused score (think fiddles, bodhráns, and foot-stomping rhythms) that never overstays its welcome. The songs flow into dialogue and back again so naturally, it’s more of a sung-through play than a musical in the traditional sense. There’s not a weak song in the bunch. It's earthy, driving, and emotionally rich. The band is on view throughput the show and achieve a seamless inclusion working perfectly to support the action on stage.

Highlights:

• “Welcome to the Rock” – A punchy opening that sets the pace and tone.

• “38 Planes” / “Blankets and Bedding” – Chaos meets coordination.

• “Somewhere in the Middle of Nowhere” – Uplifting and bittersweet.

It is fitting that the band, somewhat hidden through the show, take centre stage st the end.

Set and props

The set is minimal and purposeful: the lattice wall across the back of the stage area separates the stage action from the band while also ensuring the band are visible and included as part of the ongoing action. The girders in the wall are an omnipresent reminder of the destruction that happened on September 11th and the lattice within the wall emulates the structure of the twin towers as well as the interconnected journeys the characters have taken to bring them to Gander. The floor is painted to represent the tiled pattern of the floor in Gander airport and again reflects the pathways leading to Gander. The floor and wall combined also seemed to symbolise the connection and disconnection that people experience through the 9/11 trauma.

The few chairs, tables, and boxes are used continuously throughout the performance and the cast interact and move these pieces purposefully to help develop the narrative and move between different aspects of the Gander story. It’s simple and efficient and they really make it work letting the story shine rather than distracting you with effects, bells and whistles. As a result, the transitions are tight and effective.

In many interpretations of Come From Away the production companies enlist the luxury of a revolve. Holiday Actors overcame this with brilliantly synchronised movement and choreography.

The Verdict

Come From Away is one of my favourite musicals. The balance between music and theatre is well scripted and brilliantly bought to life through these casts. It is one of the most sincerely uplifting shows you’ll ever see. It doesn’t shy away from the darkness of 9/11, but it chooses to focus on light—on people doing what’s right simply because it’s right. It’s a reminder that, when the world stops making sense, ordinary people can step up and be extraordinary.

This show won’t change the world. But it might change how you see it—and that’s more than most musicals can say.

Final Score: 10/10

See it. Cry. Laugh. Feel better about humanity.

Read our review from TheTheatre.au by Crystal Stivala here!