There’s something fitting about Come From Away finding its way to the Darlington Hippodrome through community theatre. A story built on the power of ordinary people responding to extraordinary circumstances, it feels wonderfully at home in the hands of DarlingtonOS. Come From Away pivots on shared humanity, and the quiet heroism of community. These are at the heart of amateur dramatics, where storytelling is driven by this very same collective passion and purpose.

For those unfamiliar with this production, Come From Away is typically a 90-minute, one-act musical (although this production puts a short interval in the middle!) which tells the true story of what happened when 38 planes were unexpectedly grounded in the small town of Gander, Newfoundland, following the closure of U.S. airspace on September 11, 2001. With nearly 7,000 passengers suddenly arriving (almost doubling the town’s population overnight) the residents of Gander and its surrounding communities mobilised to provide food, shelter, and comfort to strangers from all over the world. What unfolds is not a retelling of tragedy, but a celebration of kindness and resilience: interwoven stories from pilots and passengers to teachers, mayors, and animal rescue volunteers. The musical finds beauty in the mundane acts of generosity that turn crisis into connection, reminding audiences that even in the darkest of times, humanity has a remarkable capacity to open its doors.

Let’s cut to the chase: this is, by far, the best amateur theatre I have ever seen, and perhaps the easiest five stars I’ve given all year. If you love Come From Away, if you missed its West End or touring run, or if you’ve never heard of it, I urge you to head to the Darlington Hippodrome this week. This production is a gorgeous, heartfelt iteration of the show that does its material, its history, and its people absolute justice. You’ll leave with teary eyes and a very, very full heart.

The music is the lifeblood of Come From Away, and under the masterful musical direction of Steven Hood, the band manoeuvred the intricately layered score with ease, oscillating between folk warmth, moments of solemnity, and bursts of sheer joy. Paul Walker’s drum work gave the show its heartbeat from start to finish. The band remains visible on stage throughout, their presence celebrated in the joyous Screech Out, where each musician rightfully takes the spotlight and is met with rapturous applause.

With a multi-award-winning book and lyrics by Irene Sankoff and David Hein, the material is already strong. But it’s the handling of that material – and the cohesion between the cast, direction, and choreography – that elevates this production far beyond the usual boundaries of amateur theatre. Directed and choreographed by Joanne Hand, the show brims with precision, heart, and humanity. This particular performance featured ‘Team Yellow’, and what a team they are. Zoë Kent’s Beulah sets the tone: warm, grounded, and endlessly kind. Kirsty Furness’ Bonnie radiates fiery compassion, while Julian Cound’s Claude anchors the production with sincerity and heart. Every Newfoundlander shone individually, yet their collective spirit is what truly carried the show, perfectly reflecting the story’s emotional core. Among the couples, Charlotte Sisson’s Diane and Christian Brabin’s Nick delivered a beautifully understated Stop the World, reimagined without the usual chair sequence in favour of something gentler, more grounded. It felt human, heartfelt, and authentic — three words that define Come From Away.

Humour, too, thrives here. From the chaotic joy of Screech In (complete with a plush fish cameo) to the quick wit of James Bearpark’s Kevin T and Eddie Taylor-Jones’ Kevin J, laughter threads through the show’s emotional terrain, reminding us that joy and sorrow can, and do, coexist. It is this facet of this particular show, I think, that tethers it so brilliantly to our current climate: it doesn’t shy away from pain, but refuses to let this pain consume it. Suggesting joy as the crux of the human condition, Come From Away champions laughter, friendship and silliness as the means by which we navigate hardship.

A special mention must go to Samantha Morrison, whose portrayal of Beverley Bass was nothing short of extraordinary. Her Me and the Sky was genuinely transcending, and her later “U.S. of A” line soared with such raw power it took my breath away. Morrison’s performance would not feel out of place in a professional production; she was spellbinding.

Joanne Hand’s dual direction and choreography are a stroke of genius. With a sung-through show boasting thirty-seven musical numbers, the fusion of these creative dimensions is a fabulous choice, with each transition, formation, and gesture needing to be flawlessly timed – and here, they absolutely are. In the absence of flawlessness on this front, Come From Away would risk messiness: this production suffered no such fate under the creative mastery of Hand. I was thrilled to find out I had been seated in the circle as this show boasts some of my favourite formation-work (best enjoyed at an aerial view). In this production, 28 Hours perfectly mirroring Somewhere filled me with immense joy: chairs were configured to resemble plane wings, with choreography further extending this near-perfect mirror image, These visuals reinforced the material’s cyclic nature, providing a deeply satisfying ending.

The creative team’s detail is meticulous. The clever use of Alex Edwards’ lighting (spotlighting ongoing scenes while concealing set changes) facilitated seamlessness, with further lighting shifts transport us through time and mood: a church window projection in Prayer adds quiet reverence, and the costumes – from Beverley’s blazer to those iconic yellow bucket hats – support quick transitions and distinct identities. Accents, coached by Cameron Jackson, were spot-on; the uniquely Newfoundland lilt felt effortless.

Ultimately, this production of Come From Away sits exactly where it belongs: in the hands of a community bursting with talent, care, and heart. During Screech Out, I looked around the theatre and saw faces mirroring my own: eyes shining, smiles wide, utterly alive. It’s moments like that which remind me why I choose to review theatre – it’s to share the joy, the humanity, and the sheer magic of nights like this. DarlingtonOS’ Come From Away is life-affirming, soul-filling, and beautifully human.

DarlingtonOS’s production of Come From Away runs at the Darlington Hippodrome until 1 November 2025. Get your tickets here.

Image Credit – Scott Akoz Photography