REVIEW: Come From Away - Ipswich Musical Theatre Company

Ipswich Musical Theatre Company | Book, Music & Lyrics by Irene Sankoff & David Hein

Directed by Thomas Armstrong-Robley

Music Direction by Matt Rofe

Choreography by Simon Lind

Photography by Justin Marriner

Ipswich Musical Theatre Company delivered a deeply moving and impressively polished production of Come From Away, a story that has travelled the world yet somehow felt right at home in this community setting. Before the show even began, the pre-show airport announcements, the sticker map marking where audience members were “from,” and the fully visible set instantly transported us to Gander Airport in Canada. Wooden and plastic crates, metal sheeting for wings, and crisp multimedia projections created a rugged environment that looked part-airport terminal, part-makeshift shelter.

For anyone new to the show, Come From Away recounts the astounding true events of September 11, 2001, when airspace over New York shut down and 255 planes were diverted across Canada. Thirty-eight of those planes landed in Gander, Newfoundland, dropping almost 7,000 stranded passengers into a town whose population nearly doubled overnight. Among them was Beverly Bass, the first female captain of American Airlines. Drawing from interviews with locals, pilots, and flight crews, writers Irene Sankoff and David Hein crafted this musical capturing five extraordinary days of fear, generosity, humour, and humanity. It remains one of the most powerful reminders of how compassion can (and should) rise from tragedy.

Director Thomas Armstrong-Robley and choreographer Simon Lind embraced the show’s famously complex staging with intensity and precision. With each actor playing multiple characters and the set constantly shifting through chairs, tables, crates, and bodies, this production required perfect timing. The pacing felt urgent without being rushed, driven by pounding percussion, jet-engine soundscapes, and an ever-present undercurrent of chaos because... “I can’t watch the news anymore!"

Grant Couchman set the tone with his commanding voice in “Welcome to the Rock,” leading an ensemble that worked with near-military discipline. From there, the performances never dipped. Amy McCormick brought youthful sincerity and excellent accent work to Janice, the local news reporter. Stu Fisher’s portrayal of the diligent policeman Oz was a comedic delight, featuring a booming voice that never failed to make an impact. Kate Retzki as Bonnie radiated headstrong determination as she cared for the animals onboard, while Jacqui Cuny’s Beulah glowed with maternal warmth. She truly felt like the Gander mother hen, offering comfort to all.

Danika Saal delivered a moving portrayal of Hannah. Her far-too-short solo, “I Am Here,” carrying the full weight of a mother’s panic as she waited for news of her son in New York. Georgia Spark’s Beverly Bass was sensational as Beverly Bass, handling the lengthy solo “Me and the Sky” with beautiful vocals and grounded storytelling (pun intended). I loved the way the cast circled her for this number, especially the all-female crew; an image that beautifully honoured the trailblazing pilot she portrayed. Georgia also had a fantastic Texan “teacher voice”, commanding the space with easy authority.

Jacob Ballard offered crystal-clear diction and thoughtful acting as Kevin T, leading “Prayer” with a stunning, angelic vocal line. Michael Fitzpatrick, Daniel Walton, Barry Haworth, Justin Harreman, and Bronte Mitchell provided humour, heart, and seamless shifts between characters. Special mention must go to Stuart Manuel, who made his stage debut as Ali and gave a wonderfully natural performance, navigating the racial tensions of the moment with honesty and control.

Staging-wise, “28 Hours” captured the mass hysteria with clever blocking that eventually settled into humour (the liquor onboard certainly helped!). “Darkness and Trees” was chilling, while “On the Edge” surged with epic lighting design and emotional panic. “Heave Away” offered a joyful burst of live musicians onstage (far too briefly) and treated us to a dance-off with Simon Lind's choreography.

Vocally, the show was exceptional. “Somewhere in the Middle of Nowhere” filled the theatre with soaring harmonies, and “Lead Us Out of the Darkness” used reverb to beautiful effect. The nine-piece band, led by MD Matt Rofe, sounded phenomenal and anchored the show throughout, even when hidden from view.

The emotional aftermath was handled with great care. “Something’s Missing” was bathed in soft, evocative lighting, with grief and rage flickering across faces as the reality of loss finally landed. I found myself thinking again and again about the exhaustion these real passengers must havefelt: the fear, the homesickness, the survivor’s guilt... and how remarkable it was that this tiny town met them with such kindness instead of hostility.

There were almost no flaws in delivery, sound, or staging. This was a huge, ambitious undertaking, and Ipswich Musical Theatre Company more than rose to the challenge. Though I couldn’t name every single performer in this exceptionally large ensemble, please know that each one contributed to a cohesive, special, and powerful piece of theatre.

This production honoured the real people and real events behind Come From Away, reminding us once again of the best parts of humanity during the very worst of times.