Rarely does a musical manage to marry humour, heart, and a profound sense of community with the seamlessness of Come From Away. This show, set in the tiny Newfoundland town of Gander, tells the true story of 7,000 stranded airline passengers in the wake of 9/11 and the locals who opened their hearts and homes to them. What could have been a maudlin or overly-sentimental tale is instead a tightly woven, deeply human exploration of resilience and connection, delivered with charm, wit, and a buoyant Celtic-inspired score by Irene Sankoff and David Hein.

The script and lyrics, also penned by Sankoff and Hein, strike a masterful tonal balance. They don’t shy away from the fear and confusion of the days following 9/11, but they also find space for pockets of levity, warmth, and unexpected humour. At the heart of Come From Away is its ensemble cast; a dozen actors who switch between multiple roles with breath-taking precision. They embody everyone from panicked passengers to stoic air traffic controllers and the hospitable residents of Gander, conjuring a bustling world with only a few chairs and their collective talent. Despite the economical staging, every character is fleshed out and real, whether they are speaking, singing, or simply standing in silent unity. Thanks to them, humanity exudes from the stage. Lines land with perfect comedic timing whilst other moments are tender and raw. This is real storytelling at its finest: honest, unpretentious, and profoundly moving.

The music is a driving force throughout, performed live by a band stationed onstage. Celtic rhythms and folk melodies pulse through numbers like “Welcome to the Rock”, a rousing introduction to the no-nonsense Newfoundlanders, and “Screech In”, a raucous drinking song celebrating a peculiar local ritual- Kiss the fish, anyone? Quieter, heart-stirring moments, such as “Prayer” soar, where voices from multiple faiths intertwine in a hymn of solidarity. The songs rarely cease and are an integral part of the story-telling as unindulgent narrative vehicles.

Director, Christopher Ashley keeps the pacing brisk, with fluid transitions that mirror the chaos and camaraderie of those extraordinary days. Beowulf Boritt’s Scenic Design is deliberately simple—a few chairs, some tables, and an artful use of lighting are all that’s needed to transport us from a crowded airplane cabin to a Gander town hall. It’s a testament to the show’s confidence in its performers and story that it doesn’t rely on spectacle; it’s a show about extraordinary kindness in the face of terror, a reminder that in the darkest moments, people should help one another.

The audience, standing in unison during the curtain call, understood that this is more than just a musical- it’s a gut-punch reminder for us human beings to do good and be good. To quote the former Mayor Claude of Gander, who we had the privilege to be in the same room as tonight, ‘Let’s see what the world can do, when we all come together as one.’

Get to The Rock at The Lowry while you can this festive season to experience this once in a generation production and take your place as an honorary Islander. Running until January 5th, further info and booking details are here.

Tickets gifted in exchange for an honest review.

Photography courtesy of the production.