Come From Away

Warrnambool’s Holiday Actors’ 40th anniversary production is a breath of fresh air. While extravagant, high-budget productions often fail to connect on an emotional level, Come From Away distinguishes itself with a modest budget and a close-knit cast that creates a moving, memorable experience long after the performance ends.

This acclaimed musical, written by Irene Sankoff and David Hein (who tied the knot shortly after the events of 9/11), draws its narrative from real life individuals, with much of its dialogue sourced from first-hand interviews with them. Since it’s professional debut in 2015, Come From Away has garnered over 30 major theatre awards. It tells the extraordinary true story of 38 airplanes, carrying more than 7,000 passengers and 19 animals, that were unexpectedly rerouted to Gander Airport in Newfoundland following the 9/11 attacks on New York. The confusion experienced by both the stranded travellers and the local community set off a chain of remarkable events during the following five days. Rather than dwelling on the tragedy and turmoil of 9/11,

Come From Away focuses on the warmth and compassion shown by the people of Gander. Featuring a compact ensemble of 11 performers this 100-minute non-stop performance bursts with an electrifying, immersive energy that hooks you right from the first pulsating beats of the bodhrán. It warmly draws you into the genuine lives of Gander’s residents making you feel as though you’re witnessing the real people rather than actors. By the end, you’re likely to leave the theatre with tears streaming down your face and your jaw aching from laughter—a true celebration of feel-good, heartfelt theatre.

Ali McLaren, serving as Director, Co-Vocal Director, and Choreographer, is a Holiday Actors alumni since 2007. I first had the pleasure of seeing McLaren shine as Laurey in Oklahoma! (2010). McLaren has transformed the staging of Come From Away into something refreshingly new and distinctive from other productions. Her inventive staging amplifies the production's emotional depth. The piece is animated through meticulously designed and creative choreography. McLaren's innovative direction captures the passengers' overwhelming anxiety within the cramped confines of an airplane, illustrating the intense tension experienced by characters in Gander as they navigate a chaotic environment, along with the dynamic interactions present in ensemble scenes. As audience members, we are not merely observing the drama; we are immersed in it.

Set design by McLaren and Lyle Russell features a floor that has been meticulously painted to mimic the distinctive flooring pattern of Gander Airport as it appeared in the mid-20th century. Surrounding the stage, trees give the impression of being crafted from steel salvaged from the World Trades Centre. A scrim (separating the cast from the on-stage band) displays a massive girder wall that pays tribute to the architectural aspects of the 9/11 memorial building. Additionally, a strategically placed painter’s scaffold acts as an elevated viewing platform, while an adjacent staircase creates an illusion of access leading into the cargo bay of airplanes. The reconfiguration of chairs, boxes, and tables into various arrangements across the stage presents a significant logistical challenge and is carried out by the cast with upmost precision.

McLaren and Rob Foard’s lighting design is remarkable, utilizing an extensive array of precisely timed cues to highlight individual actors and ensembles with surgical accuracy, while James Dyson’s sound design guarantees that every spoken and sung word is clearly heard, perfectly integrating the onstage performance with the voices of offstage performers supporting the chorus numbers. The costumes by Jane Phipps, Janet Punch, and Kylie Jamieson may seem understated at first glance, yet they allow the actors to swiftly transition between roles. By swapping simple items like shirts, coats, and hats, the performers are instantly transformed into characters—whether embodying a local from Gander or one of the plane people.

Musical Director and Co-Vocal Director Aradie Blake (an HA alumni since 2007) is renowned for her unforgettable portrayals of Mrs Potts in Beauty and the Beast (2009) and Aunt Eller in Oklahoma! (2010). Blake leads an 8-piece band (whilst playing keys and accordion herself) of exceptionally talented and revered musicians in the Warrnambool community. The Come From Away band requires musicians to play instruments and styles of music that might be out of their comfort zone. The musicians include Katie Ezzy (fiddle), Dave Benfell (mandolin, guitar and bouzouki), Airlie Tait (whistles), Millie Quarrell (drums), Tris Forster (bodhran and percussion), Jacob West (guitar), and Geoff Kilminster on electric bass. Blake’s musical direction is top-notch and the most polished band of any Come From Away production I have seen to date. It was a highlight of the show when the band joined the cast upstage performing ‘Heave Away’ and ‘Screech In’. After the final bows the band took centre stage, playing directly to the audience. The audience were on their feet clapping, stomping, whistling – not wanting their high-spirited performance to end!

Because the ensemble for Come From Away is only eleven, Holiday Actors has cast two groups (blue and yellow) giving more performers an opportunity to shine. Although only one group appears on stage at any given time, the alternate group sings from the orchestra pit to reinforce the choral sections, creating a richer, more expansive sound. Whilst I had the pleasure of witnessing both groups perform – and they were equally extraordinary - my review specifically focuses on the yellow group.

Danielle Gladman (Blitz, Les Misérables, Oliver!), with over 30 years involvement with HA, plays Beulah Davis a matriarch of Gander who is organised, efficient, quick witted, and a people person. As a mum of four herself Gladman brings her warm, caring, motherly personality to the role and is a beacon of light throughout the performance. Vanessa Parkinson (Hairspray, Cats, and Wicked) delivers an inspired portrayal of Beverley Bass – the trailblazing first female captain for American Airlines. Her stage presence radiates unwavering dedication, genuine compassion, and enduring resilience. In one of the show’s most stirring moments, Parkinson’s rendition of ‘Me and the Sky’ captivates the audience with powerfully emotive vocals and a magnetic personality, guiding us through a poignant four‐minute journey that vividly chronicles her character’s real life story. Ed Ezzy (Les Misérables, Cats, The Wizard of Oz), whilst a relative newcomer to the stage, portrays his various characters with genuine naturalness and commands the stage. His portrayal of Oz Fudge, a local Gander policeman, is performed with remarkable ease and with profound connection.

Greta Punch (Oklahoma!, Curtains, South Pacific), now in her 20th year with HA, portrays Bonnie Harris, the local Gander SPCA volunteer. Punch is a natural fit for this role due to her steadfast resolve of protecting animals and her genuine affection for them. Her determination is unyielding—she even claims that given the opportunity, she’d brave the confines of an airplane’s cargo hold just to rescue a cat. She depicts Bonnie as a strong-willed, stubborn, yet deeply caring individual who rises to the occasion amid chaos. Her character highlights the importance of looking after those who cannot speak for themselves. Punch’s pragmatic approach to the role is balanced by moments of humour, warmth, and in one scene radiates genuine sadness that was felt by the audience.

Caleb Ziegeler (A Chorus Line, West Side Story, Sweet Charity) brings his dynamic presence to the role of Claude Elliott, the local mayor (and many other mayors!) from Gander and New Foundland. Ziegeler’s performance comes off as both refreshingly modest and self-mocking; his wit is remarkably sharp, and his physical antics are delightfully comical. His exuberant vocals on “Welcome to the Rock” ignite an energetic blast that kickstarts an electrifying ride, setting the stage for the wild, high-spirited musical adventure ahead. Whenever Ziegeler assumed the role of Gander’s mayor, he would invariably tug his trousers upward, sparking a wave of laughter from the crowd. It was reminiscent of a classic 'Clark Kent moment'—a simple adjustment that transformed him into Claude – Gander’s very own heroic figure.

Eloise Simpson (The Music Man, Oklahoma!, Curtains) also in her 20th year as an HA alumni, takes on the role of Diane Marson. Initially, Diane’s identity is defined by overwhelming inner anxieties and rigid social norms, but the shock of 9/11 and then meeting her soulmate Nick empower her to shed these constraints and redefine herself and her future. Simpson inhabits the role with effortless authenticity and uses a quiet confidence to reveal layers of her character’s inner life. Barton Lowe (Legally Blonde – Geelong Grammar, Rent – DIY Collective), in his first onstage role with Holiday Actors is a perfect fit as Nick Marson, the reserved yet curious English oil engineer who befriends and later marries Diane. His palpable onstage rapport with co-star Simpson endows his character with an inviting warmth and an undeniable relatability. Their beautifully performed duet of ‘Stop the World’ stands out for its blend of vulnerability and strength, a hallmark of the musical’s overall message. Brooke Chambers (Mikado, My Favourite Year, 30th Anniversary Gala) brings nearly thirty years of performing and vocal directing expertise with HA. In her role as Hannah O’Rourke, she portrays a warm, caring mother, anxiously awaiting news about her firefighter son—a role with which she clearly resonates given her own experience as a mum who openly wears her heart on her sleeve. Her portrayal captures the essence of longing, heartache and hope. Chambers rendition of ‘I Am Here’ is an intensely emotional and nuanced display of vocal storytelling.

Jen Rowan (Big Fish, Company, Legally Blonde), whose profound affection for her own small community strongly parallels Janice, whose character also embodies a deep commitment to her hometown of Gander. Rowan’s depiction of Janice, the inexperienced reporter, is aptly cast, and her accent (identified as Labrador) is convincingly authentic! Every time Rowan appeared onstage, I couldn’t help smiling because of her infectious enthusiasm for the role. Ashley Rogers-Brigden (Big Fish, Shrek, Mary Poppins) brings a high energy and a wealth of performing and dancing experience to the roles of Kevin J and Ali. Rogers-Brigden’s depiction of Ali as a compassionate and empathetic figure who adeptly navigates the challenges of being a Muslim in a post 9/11 context was executed with both dignity and respect. And finally, but not least is Neil Phipps (The Boy from Oz, Shrek, Legally Blonde) who plays Kevin T. His depiction is authentic, compassionate, and introspective, while his interpretation of the ‘Prayer’ was poignant, tender, and evoked tears.

Members of the equally talented alternate blue cast included – Julie Price (Beulah), Angela Kenna (Beverley), Harry Price (Bob/Oz), Emma Miller (Bonnie), Paul Venzo (Claude), Maja Pearson (Diane), Jane Duffy (Hannah), Jen Rowan and Ali McLaren (Janice), Beau Nieuwveld (Kevin J), Riley Holcombe (Kevin T) and Hugh Blemings as Nick.

Having had the privilege of performing piano in nine Holiday Actors productions (beginning with Essgee’s The Mikado in 2003) and being honoured as a Life Member in 2017, I felt like a proud Dad watching his children shine onstage. For the last forty years this company has touched the lives of so many in the Warrnambool and wider community – including thousands who have witnessed their extraordinary performances! With each passing year, success only deepens as the relationships forged among the cast, musicians, and behind‐the-scenes creatives continue to grow into lasting, lifelong connections.

Holiday Actors isn’t just a Community Theatre company! Every production is a quiet masterclass in acting that prioritizes emotional truth over theatrical flair.

Jonathan Cox

Photos:  Mia Copland