Diverse, inclusive and endearing, this powerhouse production is not one to be missed! Inspired by true events, this musical follows the passengers aboard some of the 38 planes diverted to the small town of Gander in Canada after American airspace was closed due to the events of 9/11 (11 September 2001). It focusses on the selflessness and kindness of the town’s inhabitants who offer up their hearts, their homes and their time to welcome and look after the displaced passengers.

Not only is this story treated with respect and gravity in the hands of Act Three, the driving heartbeat underneath is transformed into a rhythm you can dance to, with powerhouse vocals, swift and punchy choreography, a live band and dynamic high-tech set. 

The mezzanine floor of Palmerston North’s Regent on Broadway houses an installation presenting true accounts of the events and people that inspired the show. Excerpts from articles and interviews are displayed for the audience to get to know the history and see photographs of the actual people and places where the events took place. This pre-show spectacle shows how the whole company has not only engaged with the musical but has researched and respected the story behind it too. It is well worth getting to the show with at least half an hour to spare so that you can read the articles and get inspired before you see them come to life.

This show is fast and exciting; everywhere you look there is something interesting going on. The characters and setting can switch in the blink of an eye, and each transition is smooth and easy to follow. The actors are skilful in the way they differentiate each character, using accents and deliberately simple costumes to switch seamlessly from the townsfolk of Gander to various passengers from the diverted flights. Characterising so many different personalities is no easy feat, but the cast of this show does it not only with ease, but with enjoyment of the subtle idiosyncrasies that each new personality brings to the table.

Watching the actors bring their roles to life for the first time in front of a full audience, I notice how unique each of their movements are. While they are all following the same beat and doing the same choreography, each character is engaging with a different intensity, which draws my eye around them all. There is almost a diverse uniformity to it – each character is being uniquely themselves and embracing their difference, a metaphor portrayed in dance about the way the characters also embrace and accommodate each other’s uniqueness.

The characterised choreography, headed by Matthew Lyne, is the perfect complement to the creative vision of director Phil Anstiss and musical direction of Lottie Perry, who unite the diversity of the show into a cohesive, endearing and captivating performance.,

As the show develops, I am amazed by each of the character’s breakout moments. One character will feel like they are giving a standout performance, until another takes the spotlight, and I begin to realise that they are all standout performers working together to let each person shine in their role. This is one of the charms of such a character-driven show – it allows for so much variety that everyone gets a chance to share their talents and be supported by the rest of the cast, and we as an audience get to watch these triple threats in action!

I am particularly impressed by the church scene lead by Kevin T (played by Lindsay Yeo) whose beautiful and reverent performance of the hymn ‘Prayer of St. Francis’ will give you chills, in contrast to the comedy he provides in other parts of the show. His counterpart Kevin J (played by Frazer Lynn) offers heartfelt and funny moments, as well as grounding important ones, and the pair bounce off each other well.

Hannah (Erica Ward) brings a maternal sensibility to her role and her velvet soprano voice will move you as she calls for her son through song. Beverly (Jessie Feyen) also has some powerful moments, particularly in the feminist song ‘Me and the Sky’, which details her journey to become one of the first female pilots, backed by other female members of the cast.

Whenever Reihana Haronga enters, either as Bob or one of the many comedic characters he portrays, there is a ripple of laughter and appreciation from the audience as the fresh energy he brings with him helps the show bounce along – he is a crowd favourite, alongside Oz (Cal Eagle) who also makes the audience giggle with characters like the sports coach who knows Spanish.

Diane (Tamzin Price) and Nick (Michael Doody) bring a lively and endearing energy to their roles, playing off each other well and often eliciting swoons from the audience. There is such a high calibre of performance, I could easily find impressive moments for the entire cast – but I won’t. You’ll have to come and see the show and experience them for yourself!

The inclusivity of the script is carried into the ethos of the show, as each character has an alternate (pictured alongside them in the programme) who knows the role and provides backing vocals and support from the wings on nights when they are not performing on stage themselves. The action on stage is dynamic and high energy, and this support from the rest of the cast not only allows the performers to push themselves physically but allows the layered harmonies to sound bigger than what is expected from the small cast on stage, giving maximum impact.

As well as providing excellent backing throughout, the live band – boasting an Irish influence and even an accordion! – is brought out for a moment in the spotlight, playing a lively jig on stage during the ‘kiss the fish’ initiation to become a Newfoundlander scene. The rapport and appreciation between all parts of the production team is clear and exemplified by the professional quality of this production.

The team show their commitment to offering a high calibre performance with gusto, and despite a few minor technical issues and rushed lines – often expected on an opening night and handled with grace and a skilful ability to push through – the trajectory of this show is set sky-high.

Come along to experience Come From Away for yourself, the season runs until 30^th August at the Regent Theatre and includes an accessible performance on August 24th with sign-language interpretation and audio description available.

Full of heart and hope, you don’t want to miss this wholesome musical. Just like the characters in the show, you might find your heart but leave a part of you behind.

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