Review: Come From Away - Shannon Musical Society

Public Adjudication

Society name: Shannon Musical Society

Show name: Come From Away

Date of attendance: 21^st February 2026

One of the most joyful aspects of this role is getting to see, week in and week out, the extraordinary ability of groups across the country to create productions of real quality in the most diverse and often modest venues. From parish halls to community centres and school auditoriums, it is always amazing to be transported into theatrical worlds that can sometimes rival professional productions. There is something quite special about seeing such polished productions in surroundings that, on paper at least, might seem unlikely theatrical spaces. This was very much the case with Shannon Musical Society’s production of ‘Come From Away’, staged in the school hall of St. Patrick’s Comprehensive School. It was a production of impressive confidence, clarity and professionalism. There was also something wonderfully appropriate about experiencing this particular story in Shannon. With one of Ireland’s main international airports located just minutes away, the themes of global travel, unexpected arrivals and the coming together of strangers resonated in a particularly meaningful way. 

Front of house operations in Shannon are always something of an event in themselves and have become a hallmark of productions by the society. We were immediately immersed in the world of ‘Come From Away’ thanks to the transformation of the foyer space. A large map of the world prominently displayed with a simple ‘You Are Here’ marker immediately set the context of the story. A cleverly assembled baggage reclaim area complete with suitcases and a luggage trolley was a particularly nice visual touch. Signage directing us towards ‘Arrivals’ added to the authenticity. Attention to detail created a nice sense of occasion. A large and highly visible front of house team greeted people throughout the venue, ensuring the evening began with warmth and efficiency. 

The very talented Michael Anthony-Greene directed with considerable flair and imagination. Mr. Greene had a very clear sense of the narrative, delivering an exceptional production that was full of heart, humour and technical polish. Mr. Greene’s direction showed a very strong understanding of the rhythm and storytelling style that makes ‘Come From Away’ so effective. Throughout the show, the use of chairs, so integral to the staging of this musical, was beautifully coordinated, transforming the playing space with speed and clarity as locations moved between multiple locations. The physical space of the hall itself was also used with imagination. Steps leading into the auditorium allowed the action to spill naturally beyond the stage, extending the playing area and drawing the audience further into the story. Mr. Greene’s work with the cast was exceptional across the board. The principals delivered wonderful performances. The ensemble showed great confidence and focus throughout, testament to hours of careful rehearsal. A most touching moment was the appearance of a young firefighter emerging through the trapdoor with a white balloon to join Hannah following her devastating news. It was a simple but profoundly moving image which captured the heart of the story. It was one of many beautiful moments in what was a most thoughtful, piece of direction overall.

Musical Director Carmel Griffin, supported by Vocal Director Karen Barrett, did superb work bringing the score to life. Particularly noteworthy was the band’s percussionist, who had previously performed in the West End production of the show. His bodhrán playing drove many of the musical numbers with energy and authenticity, ensuring that unmistakable Celtic sound was always to the fore. Due to an unavoidable availability issue, the band was missing a fiddle player. This was an unfortunate absence for those familiar with the score, as the fiddle playing is so central to the show’s musical flavour. However, to be fair, the remaining musicians worked extremely well to compensate and the quality of musicianship on display ensured that the overall musical standard remained extremely high. Vocally, the choral work was excellent for the most part, demonstrating careful preparation and musical discipline. There was clear attention to dynamics within the ensemble numbers, with excellent diction and a well-balanced blend between the vocal parts. One area that particularly impressed was Ms. Griffin’s handling of the underscoring throughout the show. Her sensitivity to the performers on stage ensured that every word of dialogue remained audible. 

Choreographer Stephen O'Ríain had an obvious understanding of the style of movement required for this show. The choreography was rooted in narrative-driven movement, with scenes flowing seamlessly from one to the next in a way that suggested close collaboration with Mr. Greene to bring their joint vision to life. The ensemble’s commitment to this storytelling was exceptional. One particularly memorable moment came during ‘38 Planes’, where a simple yet beautifully executed torch sequence created a striking visual image.

Equally effective was the subtle incorporation of sign language early in the show. Mr. O’Ríain also demonstrated great skill in integrating props into the choreography. The carefully synchronised ensemble work during ‘Costume Party’ as the ensemble gradually donned donated clothing, became a simple but deeply effective piece of visual storytelling. The aeroplane sequences throughout the show were another highlight, with the sharp precision of the ensemble suggesting significant rehearsal. In ‘On the Edge’ the choreography captured the rising tension and emotion so well. In contrast, the final céilí section was full of exuberant energy. In fact there was little sense that anyone was acting during that piece, such was the authenticity of their energy and joy. 

Annette, the local schoolteacher, was played with great warmth and humour by Gráinne Hartnett. She really looked the part, thanks to great hair styling and well-chosen costuming and she embodied the character’s enthusiasm perfectly. Her ongoing obsession with Captain Bristol was played with great humour, with Ms. Hartnett delivering the lines with just the right mixture of excitement and exaggeration. Vocally she also made a strong contribution to the ensemble numbers. 

Beulah, the head of the Gander Legion, was played with warmth and authority by Edel McFadden, who delivered one of the standout performances of the production. Ms. McFadden captured the character beautifully, nailing a convincing Newfoundland accent that was consistent throughout. She brought a strong sense of presence and authority to the role, while also appearing wonderfully comfortable for narrative moments, addressing the audience directly with confidence and ease. Overall, she gave Beulah genuine emotional depth. Her scenes with Hannah were particularly touching, exploring the shared bond of two mothers with firefighter sons with sensitivity and sincerity.  

Grace O’Connor delivered a strong performance as Bonnie, the head of the Gander SPCA. Bonnie’s determination to ensure the safety of the animals stranded in the aircraft holds was portrayed with convincing conviction and Ms. O’Connor captured the character’s practical, no-nonsense nature very effectively. She also showed the softer side of Bonnie with great sensitivity, especially in her touching connection with the chimpanzee in her care. These moments were handled with warmth and sincerity as we saw the compassion beneath the character’s determined exterior. 

Martin McNelis brought impressive presence and authority to the role of Claude, the mayor of Gander. From the start, he established himself as a natural, steady leader. His connection with the audience was there from the outset, drawing us into the narrative from the very beginning. He also brought terrific energy to the chaos of ‘Screech In’ driving the sequence forward with great confidence. Mr. McNelis balanced the humour and authority of the role very well. His interactions with the ensemble reinforced the sense of a community coming together under his capable leadership. One of the show’s most moving moments came during ‘Something’s Missing’ as Claude reflected on the emotional aftermath of the “plane people” leaving Gander. 

Ryan O’Sullivan Glynn gave a confident performance as Doug, the Gander air traffic controller tasked with handling the unprecedented influx of diverted aircraft. He brought strong characterisation to the role. His delivery throughout was smooth and assured. His relaxed stage presence made the character very believable as a calm and professional presence in such a high-pressure environment. His scenes with Bonnie worked very well, with a convincing rapport between the two. 

Sally Fox gave a most engaging performance as Janice, the fledgling television reporter who finds herself unexpectedly thrust into the centre of an extraordinary story on her very first day on the job. Ms. Fox captured the character’s mixture of nervousness, determination and growing confidence very effectively, giving a genuine and relatable portrayal throughout. Her sincerity allowed us to connect easily with Janice as events unfolded. Her delivery was clear, well-paced and had just the right level of urgency that the character needed to guide us through the timeline of events. She also displayed a strong comedic touch, finding the humour in Janice’s inexperience without ever overplaying. 

Brian Roche delivered a wonderful performance as Oz, one half of Gander’s small police force. Mr. Roche commanded the stage with impressive authority and his wonderfully consistent Newfoundland accent brought immediate context and authenticity to the role. His delivery of dialogue was very confident and he handled the narrative pieces with relaxed ease, addressing the audience directly with clarity and a natural conversational style. Whether at the centre of a scene or contributing to the group dynamic, Mr. Roche was completely engaged with the unfolding story, always connected to the action around him. 

Denise Broderick took on the role of Beverley Bass, the pioneering first female captain for American Airlines, delivering a confident and engaging portrayal. She demonstrated a strong command of dialogue throughout, conveying the character’s professionalism and determination with clarity. While the Texan accent could perhaps have been pushed a little further for authenticity, Ms. Broderick nonetheless captured the essence of the character very well. Her big number, ‘Me and the Sky’, was delivered with real power and commitment. Vocally, it is a demanding piece in terms of range and stamina, and while it presents challenges for any performer, Ms. Broderick’s strength lay in her clear connection to the lyrics and her understanding of the character’s story. 

I was very impressed by the performance of Niamh Roche as Bob, a role typically played by a male-presenting performer. Ms. Roche offered a refreshingly different interpretation, making the character entirely her own as a sharp, sassy New Yorker who views the unexpected detour to Gander with deep suspicion. She was a very strong actress, displaying excellent comic timing. As the story unfolded, the gradual softening of her scepticism felt very believable. 

Jimmy Arbab, a secondary school student in St. Patrick’s Comprehensive School itself, delivered a remarkably mature and thoughtful performance as Ali. From the start, he showed a clear understanding of the character’s place within the story, playing Ali with sensitivity and intelligence. His expressive face and natural stage presence allowed him to communicate Ali’s inner turmoil very well. One of the most poignant moments came as he described being pulled out of line at the airport and the humiliation of the ensuing body search, which Mr. Arbab played with great restraint and sincerity. 

Lorraine Owens gave a wonderfully nuanced performance as Diane, the American divorcee whose unexpected stay in Gander becomes a journey of rediscovery. Ms. Owens portrayed the character with warmth and sincerity, capturing Diane’s initial anxiety as she worries that her son may have been on one of the planes during the attacks. As the story unfolded, she gave us a nicely judged, gradual transformation, revealing a more spontaneous and adventurous side as Diane embraced her circumstances. Her developing relationship with Nick was one of the most compelling and heartwarming elements of this production. This connection was most clearly realised in ‘Stop the World’ which was performed with touching sincerity. 

Olivia Parkinson’s performance as Hannah, the mother of a Manhattan firefighter, was very moving as she anxiously awaited news of her son. She brought great sincerity and emotional honesty to the role. She had a lovely vocal quality and her impressive voice was at its very best in ‘I Am Here’, which was performed with great tenderness and emotion, making it one of the most poignant moments of the production. Hannah’s connection with Beulah, as they shared a common bond, was so well played and their emotional, final phone call was quite heart-wrenching. 

Tom Barrett was excellent as Kevin T., the head of an environmental energy company whose unexpected diversion to Gander becomes an opportunity for some personal reflection. Mr. Barrett was completely at ease on stage, particularly during the show’s narrative passages, where he addressed the audience with confidence and natural charm. He also showed a natural flair for comedy, finding humour in the text without ever pushing it too far. He had a lovely vocal tone in the beautifully reflective ‘Prayer’. Mr. Barrett also shone during ensemble moments, always focused, committed and in tune with the narrative. 

Kevin T.’s long-suffering boyfriend (and secretary!) Kevin J. was played with great comic flair by Ethan Doyle. Doyle brought sharp wit and sarcasm to the role, perfectly capturing his exasperation at the chaos around him. His excellent delivery of dialogue allowed the humour to land naturally whilst keeping the irritation and impatience that defines Kevin J. His memorable outburst with the “hot mess” on board their flight was very funny and his visible disgust at his boyfriend’s antics in the bar was perfectly played. 

Brian Henry gave an outstanding performance as Nick, the nervy Englishman who finds himself unexpectedly falling for Diane during their enforced stay in Gander. Mr. Henry brought a wonderfully gentle quality to the role, capturing Nick’s reserved nature while also allowing the character’s warmth and comedic side to shine. For me, it was one of the standout performances of the night; another shining star in an already stellar lineup. 

‘Come From Away’ relies heavily on the strength of its ensemble, and Shannon Musical Society was fortunate to have a wonderfully committed group of performers who worked tirelessly to maintain the relentless pace and flow of the storytelling from start to finish. The ensemble was essentially the engine of the production, moving furniture, transforming locations and creating new spaces with precision and confidence. Their focus and commitment were excellent, ensuring that transitions were slick and that the momentum never slowed. Together, this ensemble created a real sense of community and coming together; a central theme of the show. 

Stage management in ‘Come From Away’ can appear deceptively straightforward sometimes. There are no major scene changes in the traditional sense, which might lead to the assumption that the demands on the stage management team are minimal. In reality, the opposite is often true. Stage Manager Denis McNelis and his crew clearly had a great deal to coordinate backstage to maintain the polished flow that the audience experienced. With a large cast constantly entering and exiting, often while quickly grabbing props or costume pieces, the potential for confusion is always there. That none of this was visible to the audience is a credit to Mr. McNelis and his team. 

The set design was visually striking, creating a strong sense of place and allowing the flexibility required for this fast-moving show. Two large, curved structures framed the playing space, giving the stage a great sense of depth and providing an excellent canvas for lighting effects. A large, wooden backdrop displaying a world map was a reminder of the show’s global context. Side masking was provided by tall towers with horizontal timber slats which were deliberately charred; a tying together, perhaps, of the rugged environment of Gander with the destruction at Ground Zero. The unexpected trapdoor was integrated cleverly into the set. Overall, the design struck an excellent balance between visual impact and simplicity, creating a flexible space that supported the narrative beautifully.

Lighting was nothing short of exceptional, both in terms of design and operation. Considerable thought had clearly gone into creating a design that supported the storytelling at every turn. There was a very clear sense of close collaboration with the director. The lighting design helped to create stunning stage pictures, capture dramatic moments and present beautifully atmospheric states throughout. Lighting played a very important role in maintaining the fluidity that is a hallmark of this show. With locations shifting rapidly and scenes flowing from one to the next, the lighting design guided us through transitions seamlessly. The timing of cues was particularly impressive, with changes executed flawlessly. Superb work from everyone involved!

The sound design and operation was exceptional across the board, playing a crucial role in supporting the story and musicality of the production. Achieving the correct balance in a show like this is no small task, but the sound team handled it with impressive skill. The blend within the band was excellent, allowing the rich Celtic influences of the score to shine through without ever overwhelming the vocal lines. Equally impressive was the balance between band and performers, with vocals always sitting comfortably above the orchestration. The ensemble sound, in particular, was beautifully managed. Harmonies were clear and balanced at all times. There was one brief technical glitch when Oz’s microphone crackled. It amounted to little more than a moment of turbulence in what was otherwise an exceptionally smooth flight. 

There was excellent attention to detail in the props department, helping to create a very authentic and believable world for the show. I loved the use of sky-blue chairs, which offered a welcome and appropriate variation on the traditional staging while still maintaining the simplicity that the show requires. Some props contributed strongly to the show’s visual comedy. The enormous box of toilet paper was a nicely exaggerated image and impressively realistic cod fish was so convincing that you could almost smell it. Mobile phones felt appropriate to the era and Ali’s beautifully detailed prayer mat added cultural authenticity to the ‘Prayer’ scene. The superb ugly stick was both functional and visually impressive. 

Costumes were excellent throughout, helping to establish both the period of the story and the sense of community required. The overall design was authentic to the early 2000s and each character was clearly defined while still blending into the ensemble. Some costume choices also reflected personality and status. There were also some comedic costuming elements, such as the cardiologists’ coats, which added visual humour to their scene. 

Hair and make-up were very well managed throughout. In a show such as ‘Come From Away’, where performers often appear in busy ensemble scenes, these details play an important role in helping the audience quickly identify characters. Overall, the hair/makeup department ensured that good attention to detail was shown and that performers looked appropriate to both their character and their setting. Another great storytelling tool used to great effect.

This was a superb production from Shannon Musical Society, produced with remarkable confidence and skill. From the thoughtful direction and fluid choreography to the superb musical standards and striking technical work, every department contributed to a production that was polished and heartfelt. To see a production of such professionalism staged within the simple surroundings of a school hall was a reminder of the extraordinary dedication and talent that exists within the AIMS community. ‘Come From Away’ is a story about kindness, generosity and the positive things that can happen when communities come together in difficult times. Shannon Musical Society captured that spirit beautifully. It was an uplifting and wonderfully executed piece of theatre that left a lasting impression and deserved the enthusiastic response it received from the audience.

Pat McElwain

Sullivan Adjudicator 2025/2026