Review: Come From Away - Agnes Choral

Society name: St Agnes’ Choral Society

Show name: Come From Away

Adjudicator’s date of attendance: 13/09/25

St Agnes’ Choral Society’s production of Come From Away was a heartfelt and beautifully crafted retelling of one of the most human stories in modern musical theatre. On September 13th, a few days after a time already charged with poignancy, the company brought to life this story of compassion and community with sensitivity, precision, and warmth. The result was an evening that felt both respectful and uplifting, a production that honoured its subject matter with care and professionalism. Though occasionally a little too clean in tone, missing some of the raw edges that make Come From Away so affecting, it remained an impressive and moving achievement from a talented and dedicated company.

Director Rachel Logan-Fee shaped the production with intelligence, emotional understanding, and great attention to rhythm and flow. Her staging was fluid and dynamic, particularly in her use of the revolve, which mirrored both the motion of grounded aircraft and the shifting emotions of those caught in extraordinary circumstances. Every movement had intention, and the stage pictures she created were often striking in their simplicity. Her incorporation of projected news footage from the days following 9/11 was especially powerful. These projections, woven carefully into the storytelling, grounded the musical’s narrative in the reality of its source material, reminding the audience that these were true stories, moments of real kindness born out of unimaginable tragedy.

The emotional pulse of the show was steady and sincere, though there were points where one longed for a touch more spontaneity. Rachel’s production was deeply respectful and beautifully structured, but sometimes that polish left little room for the messy, unpredictable emotion that makes Come From Away resonate so profoundly. Certain comic beats could have been pushed further, too; those flashes of humour that balance the musical’s sadness were sometimes underplayed. Yet despite this, her work never lost sight of the show’s heart, its depiction of humanity at its best. The pacing was deftly handled, the energy of the ensemble ebbed and flowed with precision, and the final scenes were staged with breathtaking simplicity and grace.

Musical Director Andrew Robinson brought the score vividly to life, both through the exceptional playing of his band and the clarity of the company’s vocal performance. In a choice inspired by the original Broadway production, the band was positioned among the trees at the wings of the stage, and at times joined the cast in full view. This integration was handled beautifully; it added atmosphere and authenticity without compromising sound quality in the slightest. The sound was rich, full, and perfectly balanced, with not a single line lost.

Andrew’s tempos and dynamic choices were thoughtful and finely judged. Every number breathed naturally, and the balance between drive and sensitivity was spot-on. Ensemble numbers such as “Welcome to the Rock” and “Something’s Missing” were particularly impressive, bursting with precision, texture, and vocal unity. There was a palpable connection between conductor and cast, a shared rhythm that kept the entire show alive and moving. The band, though modest in size, had remarkable power and cohesion, creating a sound that filled the space without ever overwhelming the singers. It was clear that the musical direction was in perfect harmony with the directorial vision, both working hand in hand to craft an experience that was seamless and musically rich.

Choreographer Amy Blackshaw matched this musical precision with movement that was both expressive and restrained. Her choreography was understated but deeply felt, serving the story rather than drawing focus to itself. The transitions between spoken text and physical storytelling were so smooth that the audience was often unaware of where one ended and the other began. The plane sequences were among her most striking work, small gestures, shifting weight, and repeated motifs that captured the tension, claustrophobia, and eventual camaraderie of those trapped in transit.

There was great intelligence in Amy’s understanding that Come From Away does not need grand dance breaks. Instead, it demands movement that grows organically from emotion and music, and she delivered just that. The energy of “In the Bar / Heave Away” was joyful and infectious, though one felt it could have been pushed a little further, perhaps just a touch more reckless, more unrestrained. Still, her choreography spoke fluently in the same visual language as Rachel’s direction, and the two worked in perfect synergy. This unity of movement and staging gave the show its distinctive flow, one of its great successes.

Among the principals, there was a wealth of talent and commitment. As Hannah, Fiona Keegan anchored the piece with warmth and grace. Her calm presence radiated care and empathy, and her rendition of “I Am Here” was one of the emotional high points of the evening. Fiona’s voice was powerful yet tender, and her portrayal grounded the production in humanity and heart.

Michelle Hannaway delivered two contrasting performances as Beverly and Annette, both confidently sung and thoughtfully acted. While the differences between the two characters could have been more pronounced, her vocal control and authority were undeniable.

As Bob, Themba Mbondiya was engaging and charismatic, his portrayal marked by easy charm and understated humour. He found a particularly nice contrast between the comic awkwardness of Bob and the suave composure of Captain Bristol, and his vocals were consistently strong.

Martin McDowell brought warmth and clarity to each of his characters, particularly as Oz, the kind-hearted police officer whose friendliness encapsulated the spirit of Gander. His transitions between roles were fluid and precise, a testament to his versatility.

Gareth McGreevy’s Kevin T was sincere and well-crafted, his chemistry with Kevin J genuine though the emotional unravelling of their relationship could have gone a touch deeper.

As Diane, Antoinette McMichael offered a gentle, affecting performance. She charted Diane’s emotional journey with care, making her relationship with Nick (played by Tony Young) believable and touching. Tony’s portrayal was understated and moving, his soft-spoken manner and quiet loneliness perfectly pitched. Their connection on stage brought subtle sweetness to the production’s later scenes.

Emma Nugent’s Beulah was strong and assured, with commanding vocals and an aura of confidence. A few missed comedic beats aside, her performance was heartfelt and sincere. She balanced Beulah’s maternal qualities with a deep emotional intelligence.

Blathnaid Scullion’s Bonnie had a lovely, grounded energy; she portrayed the character’s fierce independence and moral strength with conviction, particularly in her scenes involving the animal rescue subplot.

One of the standout performances came from Vijay Sharma, who played both Kevin J and Ali. His portrayal of Ali was beautifully judged, quiet, humble, and filled with dignity. He managed to convey the character’s internal conflict and resilience with subtlety, creating some of the evening’s most affecting moments. His switch between roles was sharp and clear, and his singing voice, warm and resonant, carried great emotional weight.

Helen Smyth’s Janice was confident and well-delivered, though a little more youthful nervousness might have captured the reporter’s early uncertainty.

As Claude, Fergal White was utterly charming. His performance exuded humour, compassion, and decency, his soft-spoken manner reminiscent of Stephen Fry in both tone and timing. He was a delight to watch and provided a steadying warmth that perfectly embodied Gander’s spirit.

The ensemble as a whole was exemplary. Come From Away is, at its core, an ensemble piece, and the members of St Agnes’ Choral Society worked as a true collective. Their vocal blend was superb, harmonies were clear, strong, and balanced, and the company’s diction was immaculate. Movement across the stage was cohesive and always purposeful, transitions seamless and beautifully timed. Every performer on stage appeared to understand their role in the larger picture, creating a living, breathing community rather than a series of isolated performances.

If there was one area that could have added more texture, it would be the individuality within that unity. A few more moments of spontaneous, character-specific behaviour, small gestures or quirks that make each islander or passenger unique, might have brought an extra layer of life to the story. But this was a disciplined, finely tuned ensemble, whose commitment and heart were evident in every beat of the show.

Visually, the production was clean and cohesive. The set, inspired by the original design, was built from natural materials and neutral tones, with cerulean, blue highlights suggesting the island’s coastal setting. While attractive and functional, it did feel a little too pristine; some additional roughness or texture might have captured the ruggedness of Newfoundland life more authentically. The revolve worked flawlessly, allowing for fluid scene changes handled entirely by the cast, a feat of timing and precision. The projection screen, integrated into the back wall, added depth and emotion to key moments, particularly during the news sequences.

Lighting and sound design were excellent. The lighting choices enhanced the set’s warmth, creating subtle shifts between intimate storytelling and larger ensemble moments. Colour palettes were used with sensitivity, and every cue felt carefully considered. The sound mix was clear and well-balanced, ensuring that even during complex ensemble numbers, every vocal harmony could be heard. The integration of live instruments on stage, always a technical challenge, was managed with skill, maintaining perfect alignment with the vocals throughout.

Costumes, hair, and makeup were natural and understated, entirely in keeping with the realism of the piece. The neutral base costumes allowed for quick changes and supported the show’s fast-moving structure, with small pops of colour and accessories helping distinguish between characters. Nothing felt out of place or overly theatrical, the visual design remained honest, simple, and human, reinforcing the authenticity of the storytelling.

Finally, it must be said that the entire experience, from arrival to final curtain, was handled with warmth and grace. The Front of House team were calm, friendly, and efficient, greeting the audience with genuine hospitality. Their professionalism set the tone for the evening and reflected the same spirit of community that Come From Away celebrates.

In all, this was a moving and dignified production that showcased St Agnes’ Choral Society’s professionalism and heart. It was a show that demonstrated remarkable discipline and unity, a testament to the strength of its creative leadership and the dedication of its ensemble. If it occasionally felt a touch too polished, its edges smoothed, its chaos neatly contained, it nevertheless carried deep sincerity and great artistic integrity. By the end of the night, that spirit, of kindness, empathy, and shared humanity, lingered in the air. This was a production that not only told a story of generosity but embodied it, both on and off the stage.