Review: Come From Away - Letterkenny MS

Society name: Letterkenny Musical Society

Show name: Come From Away

Date of attendance: 11^th March 2026

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Letterkenny Musical Society brought one of this season’s most popular choices, ‘Come From Away’, to the wonderful surroundings of An Grianán Theatre. This is a wonderful piece of theatre, heartwarming, heart-wrenching and theatrically dynamic in equal measure. Its storytelling is deceptively simple, yet it demands an exceptional level of precision, with a strong ensemble and a high degree of technical and musical expertise required to fully realise its potential. There was no doubting the intent, commitment and enthusiasm of the group in taking on such an ambitious and challenging piece. However, while the heart of the production was understood and embraced, the execution did not always match the demands of the material and, at times, fell short of providing the clarity that the show relies upon.

The front of house experience proved to be an immersive event in itself, setting the tone for the evening from the moment of arrival. A particularly impressive element was the high-quality promotional video, shot in Donegal Airport, which played in the foyer. This helped to give the production a local context while building anticipation. The sense of occasion continued inside, where the striking pre-set, beautifully lit, immediately caught the eye. The pre-show safety announcements were delivered in the style of flight attendants, while performers positioned throughout the auditorium executed coordinated demonstration gestures with broad smiles. 

Maria Rushe’s direction showed a good understanding of the heart and humanity at the core of the show. There were several moments where this shone through, particularly in the handling of relationships. There were also thoughtful staging choices throughout. Background movement during ‘Blankets and Bedding’ was purposeful and contributed nicely to the sense of community. The rotating focus in ‘Something’s Missing’, as each character stepped forward to share their update, was particularly effective in its simplicity and poignancy, reinforcing that community feeling, yet again. However, ‘Come From Away’ is a piece that demands not only emotional clarity but also an exceptional level of precision in execution, and this was not always consistently achieved. Accent work presented a further challenge. The Newfoundland dialect is highly specific and central to the authenticity of the piece and while there was clear effort from the cast, consistency was an issue across a number of performances. From a technical and staging perspective, the production encountered ongoing difficulties. Performers consistently missing their lighting positions was a recurring issue. Overall, Ms. Rushe’s direction had a strong understanding of character and narrative, with some genuinely effective and moving moments. With more integration of technical precision and detail, this production could have realised the considerable demands of this challenging piece even more.

Mark Bradley assembled a very fine group of musicians to bring the distinctive trad/folk-inspired score of to life. Their presence on stage, thoughtfully integrated into the set, added greatly to the authenticity of the piece. Musically, there were moments of real strength. The ensemble sound in ‘Welcome to the Rock’ was impressive and energetic, setting a strong tone early on. It was also a pleasure to see the musicians themselves becoming part of the storytelling at key moments, joining the cast onstage. ‘Come From Away’ is a score that relies heavily on balance, sensitivity and dynamic control, particularly in its use of underscoring, and this is where the production encountered some challenges. There were also instances where amplification levels could have been more carefully managed. Overall, there was clear musical ability and commitment on display, with a strong ensemble and some genuinely sensitive moments. 

Giles Murray gave an assured performance as Oz, bringing both presence and clarity to the role. He had the most consistent Newfoundland accent on stage, which greatly enhanced the authenticity of his character and set a good benchmark for the ensemble. Mr. Murray was very comfortable when addressing the audience directly, handling these moments with confidence and a natural connection that suited the storytelling style of the piece. 

Patrick Moore gave us one of the standout performances of the evening in the dual roles of Kevin T. and Garth, bringing great character detail, humour and vocal quality to both. As Kevin T. Mr. Moore had a natural comic instinct, with excellent timing and a relaxed, assured presence on stage that made his performance most engaging throughout. Vocally, he was equally impressive. His wonderful tenor voice shone in ‘Costume Party’, delivered with expression and control, while his contribution at the top of ‘Prayer’ was especially sensitive, with a beautiful tone that allowed the emotion of the moment to breathe. 

Daniel McCafferty was very entertaining in the roles of Kevin J. and Captain Bristol, showcasing a strong flair for comedy and versatile characterisation throughout. As Captain Bristol, he was consistently hilarious, bringing an excellent sense of physical comedy to the role in his brief appearances. In contrast, his portrayal of Kevin J., “sexetary” to Kevin T., was equally effective, capturing the character’s exasperation and wit with great humour. 

Sarah Terry Sweeney did a great job playing both Beverley Bass and Annette. As Beverley, she captured the calm, composed professionalism of the pioneering airline captain with great confidence, with a convincing Texan accent and a strong, commanding stage presence. In contrast, her portrayal of Annette was full of charm, with a much more playful energy that provided a lovely balance. Vocally, she was outstanding. ‘Me and the Sky’ was undoubtedly one of the musical highlights of the evening, delivered with emotional depth, clarity and superb control. 

Deigh Reid gave a very strong performance as Nick. A highly effective character actor with a natural ease on stage, he captured Nick’s English sensibility and slightly nervous disposition with a light, well-judged comic touch, making him immediately likeable and engaging. His connection with Diane was convincing, with a warmth and authenticity that allowed their relationship to develop in a touching way. Vocally, he impressed in ‘Stop the World’, with a beautiful, expressive performance that added to the sincerity of the moment. 

Nicola Shields took on the role of Beulah, the warm-hearted and community-driven trailblazer who helps organise the response to the stranded passengers. There was a lot of potential in this performance, with a genuine sense of engagement on stage. In particular, her connection with Hannah in the moment where they discover their shared link as mothers of firefighters was touchingly handled. 

Maria Carlin brought great warmth and charm to the role of Diane. She shared a lovely, natural connection with Deigh Reid’s Nick, with their relationship developing in a way that felt genuine and easy to invest in. Her emotional reaction upon hearing that her son was safe was particularly well judged, capturing the relief and vulnerability of the moment with sincerity. In contrast, her drunken escapades provided some of the show’s most entertaining moments with Ms. Carlin showing excellent comic timing, especially during the sequence involving the cod kissing ritual. Vocally, she impressed with a lovely, expressive tone. 

Aoife Farmer impressed as Janice, the eager and inexperienced reporter finding her feet in Gander as events unfold in the aftermath of 9/11. She brought good energy and clarity to the role, with expressive delivery and a natural ease in her many moments directed to the audience. Overall, a very promising and engaging portrayal, with lots of potential and a strong stage presence.

Mark Bradley Jnr presented as a relaxed and confident performer in the role of Bob, bringing a natural ease to the stage that made him immediately engaging to watch and allowed him to contribute well to the overall storytelling. While his portrayal may have lacked some of the cooler, more suspicious edge often associated with Bob, there was a likability and sincerity that worked in his favour. 

Donal Kavanagh took on the role of Claude, the mayor of Gander and a central storyteller within the piece. It took a little time for his performance to settle, with some early moments feeling somewhat rushed, particularly in his opening introduction. As the show progressed, however, Mr. Kavanagh grew more comfortable in the role, with a greater sense of sincerity and likeability emerging. Overall, while there were some elements that would benefit from further development, there was a warmth and honesty in the performance that came through as the piece unfolded.

Jenny Yourell brought great heart to the role of Bonnie, offering a funny but warm and sincere portrayal. There was an honesty in her performance that suited the character beautifully, allowing her moments to feel very genuine. Her telling the rare chimpanzee how sorry she was that she’d lost her baby was particularly touching, delivered with a tenderness and compassion that really resonated. 

Laura Keogh was outstanding as Hannah, delivering a performance of real depth, control and emotional intelligence. A true class act, she brought exceptional presence to the stage along with a clear and insightful understanding of the text, allowing every moment to feel authentic and purposeful. This, for me, was the standout performance of the evening. Vocally, she was superb. ‘’I Am Here’ was the musical moment of the show, with Ms. Keogh navigating the piece with impressive technical assurance. 

The ensemble is always the driving force behind ‘Come From Away’, and this production was no exception. As a group, the cast worked very well together as they navigated the challenge of a constantly changing stage. The movement of furniture was handled with confidence and fluidity, contributing effectively to the creation of multiple locations within the space. Vocally, the ensemble produced a strong, full sound, particularly in the larger numbers. At times, however, a greater attention to vocal dynamics would have enhanced things musically, allowing for more variation and giving key moments greater clarity. 

Stage Manager Lorraine Porter may not have appeared overly busy throughout the performance, though this can often be deceptive. In a production such as ‘Come From Away’, where there are frequent entrances and exits alongside constant movement of furniture and props, there is a significant level of coordination required behind the scenes. It was clear that all of this was in very good hands with Ms. Porter and her team. 

The set was very much based on the original professional production and looked very well on the vast An Grianán stage. Framed by tall wooden tree trunks, there was a nod to the natural landscape of Newfoundland and a simplicity that suited the piece. The large slatted wooden backdrop, which took light so well, was a standout feature. As is traditional, chairs formed the backbone of the staging. They offered a lot of flexibility and reinforced a sense of a community coming together. The integration of the band into the set was a good decision. The draped fabric around the base of the set felt a little bit more decorative than purposeful, however, it did add another layer of texture.

The lighting design felt like something of a mixed bag, with moments of excellence alongside areas that could have benefited from greater precision. The use of break-up gobos on the slatted wooden backdrop worked particularly well, creating a rugged, almost otherworldly effect. At the end of ‘Darkness and Trees’, there was a subtle suggestion of the Twin Towers engulfed in flames, which was tastefully handled. However, not all elements were as successful. Cueing was occasionally late, which disrupted the flow and impact of certain moments. A recurring issue was performers missing their lighting positions. While this is not solely the responsibility of the lighting operator, it did suggest the need for more tech rehearsal, especially for a show where isolating performers is central to the storytelling. Overall, there were some standout moments but greater consistency in cueing and tighter technical elements could have made this design even better.

Sound proved to be the least successful of the technical elements on the night, with a number of issues affecting overall clarity and balance. Vocal levels, particularly in ensemble numbers, were generally too high in the mix, at times bordering on uncomfortable. A particular difficulty arose with underscored dialogue, which was frequently difficult to hear. The closing section of ‘Prayer’, with its overlapping vocal lines, became very muddied, lacking the definition and separation needed for each of the lines to fully register. There were, however, some positive elements. Sound effects were generally well handled, with the low-level wind effect proving particularly effective. This was subtle and atmospheric when used.

There was wonderful attention to detail from the props department, with a great commitment to authenticity throughout. A number of standout pieces added detail and humour to the production. The cod was particularly effective and got a great reaction from the audience. The ‘ugly stick’, played with great enthusiasm by the percussionist, added a lovely touch of character and fun. The beer bottles, complete with authentic labels, reflected a high level of attention to detail. Overall, this was excellent work from the props team who were very focused on attaining a high level of authenticity throughout.

Costumes looked well throughout, with good attention to detail for the 2000s. There was good attention to how costume reflected personality and status. Beverley’s pilot uniform immediately set her apart as an authoritative figure, while Claude’s suit reinforced his role as Mayor. There were also some nice touches of visual humour, particularly with the cardiologists’ coats. Overall, strong work from the costume department, with a clear eye for detail and storytelling.

The hair and make-up department showed good attention to detail, ensuring that performers looked appropriate to their characters. Hair and make-up choices complemented the costumes effectively and nothing appeared inappropriate or out of place.

This was an ambitious undertaking by Letterkenny Musical Society, tackling a piece that is deceptively simple in appearance yet exceptionally demanding in execution. It is a show that requires not only strong performances, but also a very high level of technical and musical expertise. There was much to admire in this production. The set design and overall visual presentation were strong. Several performances stood out and there was a collective commitment from the ensemble in bringing the piece to life. At the same time, there were areas, particularly in technical and musical areas, where greater precision and balance would have made a positive contribution to the production. That said, the effort and ambition behind this show were evident throughout. With some more focus on technical requirements, there is every potential for this society to build on what was achieved here.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photographer was Liam Porter