As an NSTA representative, I was delighted to see the King’s College School Wimbledon production of Come From Away, performed at Collyer Hall Theatre on Saturday 29th November 2025. Directed by Davina Barron and Harriet Feeny, assisted by Aoife Parr, with musical direction by Peter Hatch, this production made a striking and lasting impression. There are some shows that feel ambitious for a school to stage, and then there is Come From Away. Rooted in real events and lived experience, the musical carries an emotional weight and narrative responsibility that could easily overwhelm a young cast. Yet this production rose to the challenge with extraordinary sensitivity, maturity and theatrical confidence, delivering an evening that was both deeply moving and quietly uplifting.
Written by David Hein and Irene Sankoff, Come From Away is based on the true events of 9/11, when 38 planes were diverted to the small town of Gander, Newfoundland, leaving 7,000 passengers stranded far from home. Drawing on interviews with those involved, the musical tells the story of how this close-knit community opened its doors – and hearts – offering shelter, kindness and unwavering support in the wake of tragedy. The show’s accolades, including a Tony Award for Best Direction in 2017 and multiple Olivier Awards in 2019, speak to the power of its storytelling, and this production honoured that legacy with integrity.
From the opening moments of ‘Welcome to the Rock’, it was clear that this was an ensemble-led piece in the truest sense. With little opportunity to retreat into the background, every performer remained fully engaged throughout, whether singing, speaking, moving furniture or reacting silently on stage. This constant focus created real momentum and unity, reinforcing the idea that this is not a story of individuals, but of people coming together in extraordinary circumstances. The pupils demonstrated a remarkable understanding of the material, never pushing sentimentality but allowing moments of humour, fear and compassion to land naturally.
With minimal set, swift transitions and performers frequently shifting between multiple roles, the production relied entirely on clarity of storytelling and strength of performance. The cast handled this with impressive assurance, moving fluidly between characters while maintaining clear physicality and vocal distinctions. Accents were carefully judged, characterisations felt truthful rather than exaggerated, and the sense of shared community – so central to the show – was consistently present.
Among the Gander natives, George carried the narration as Jimmy with ease, linking scenes naturally and with a convincing Irish accent. Jacob’s Mayor Claude was confident and assured, leading ensemble numbers such as ‘Welcome to the Rock’ and ‘Finale’ with energy and authority. Rolf gave a standout performance as Garth, balancing humour and heartfelt sincerity with excellent comic timing, while never undercutting the character’s emotional truth. His delivery of the excerpt of ‘My Heart Will Go On’ and the claustrophobic lady within ‘28 hours / Wherever We Are’ particularly shone. Oliver’s Beulah was a constant reminder of the town’s generosity, delivered with warmth, gentle humour and an assured sense of character. Ashton’s Bonnie was wonderfully quirky and deeply compassionate, beautifully conveying the character’s fierce determination to care for the animals and reflecting the depth of kindness within the Gander community.
The ‘come from away’ visitors were no less impressive. Ren delivered a particularly affecting performance as Beverley, bringing warmth, quiet strength and emotional honesty to the role. She shone in her phone call solo in ‘28 Hours / Wherever We Are’, delivered with rich emotion, and confidently belted the empowering ‘Me and the Sky’. Harry brought warmth and gentle humour to Bob, his journey from New York cynicism to acceptance of small-town generosity providing an endearing and effective contrast to the show’s heavier emotional moments. His performance in ‘Something’s Missing’ was especially moving. Scott and Alec were excellent as Kevin T and Kevin J, creating an authentic, tender partnership that balanced lightness and emotional depth with ease, and delivered some of the production’s strongest comic moments. Peter’s Nick was grounded, credible and delightfully humorous, fully embodying the awkward British businessman. His vocals in ‘Stop the World’ were beautifully delivered, and his relationship with Diane – played with skill and a convincing Texan accent by Sophie – provided moments of gentle warmth and humour. Emma brought raw emotional intensity to Hannah, supported by powerful, resonant vocals, with ‘Phoning Home’ and ‘I Am Here’ landing with particular force. Aidan gave a thoughtful and affecting portrayal of Ali, allowing the weight of suspicion and fear he faced because of his ethnicity to land with real gravity, particularly in the scene describing his body search.
Direction was clear, purposeful and respectful of the material. Transitions were slick and imaginative, ensuring the production never lost pace despite its episodic structure. Jo Howcroft’s set design – a thrust stage flanked by layered, mountain-like forms – allowed furniture to transform the space into planes, cafés and buses while accommodating the sizeable ensemble. Nothing felt overcomplicated, and every directorial choice appeared to stem from a desire to tell the story clearly and honestly. This was especially evident in ‘Phoning Home’, where restrained staging allowed the emotional weight of the moment to land with devastating power.
The technical elements were similarly well judged. Eduardo Strike’s lighting design successfully utilised a shared backlight which passed between members of the cast, keeping them connected as they spread between different locations on stage and within the town of Gander. Bea Cramer’s costume design successfully evoked the feel of comforting, lived-in knits and flannel of a remote island community.
Peter Hatch’s musical direction was sublime, drawing sensitively on the Irish and American musical traditions woven through the score. The folk-influenced style was handled with warmth, and the performers navigated the show’s rapid musical shifts with impressive control. Vocally, the cast delivered a confident and well-balanced performance. Solo moments felt well integrated, always serving the story rather than drawing focus away from it.
This Come From Away was not only a technically accomplished piece of theatre, but a deeply human one. It demonstrated the ability of young performers to engage thoughtfully with real-world stories and to communicate empathy, kindness and resilience through performance – a moving, confident and genuinely memorable production, and a credit to everyone involved both on stage and behind the scenes.
National School Theatre Awards
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