I was lucky enough to be treated to a preview of KATS production of Come From Away, and I was blown away.

Not only a spectacle on the stage, but rooted in storytelling, precise movements, and heartfelt scenes, Come From Away tells the real-life story of 7,000 airline passengers unexpectedly grounded in the small town of Gander, Newfoundland, in the aftermath of 9/11. As fear and uncertainty ripple across the world, the residents of Gander open their homes and hearts to complete strangers, forging fleeting but powerful connections that leave a lasting impact on everyone involved. The piece asks its cast to shift seamlessly between characters, accents, and emotions, all while capturing a deeply human story of compassion in the face of uncertainty. The KATS performers captured this prominent moment in our history with sensitivity and style.

Director and choreographer Carey Ryan-Carter created an immensely entertaining production that perfectly balanced emotional moments with more humorous scenes. Come From Away is a complex and fast-moving piece, which Carey made clear and cohesive, allowing her fantastic cast to shine. With each actor switching between multiple roles, the production relied heavily on the precise leadership of their director, and this really shone through with the storytelling remaining impressively easy to follow. The pacing is well judged, allowing quieter, more reflective moments to land without slowing the overall momentum.

Jules McColl, Chair of KATS, maintained her leadership role on stage, playing the Mayor of Gander with energy and realism. She perfectly conveyed the enthusiasm of the real people who opened their homes to all the people who arrived in Gander 25 years ago. Jasmine Cox, portraying Janice Mosher, a local reporter, narrates the piece throughout, maintaining the continuity of the story while capturing the uncertainty of a young woman thrown into a major world event on her first day at work.

Among the many characters woven into the story, Doug, Bonnie, Oz and Beulah each bring their own distinct warmth and humanity to the stage. Local school teacher, Beulah, is a figure of reassurance and authority. Played expertly by Sarah Robens, she anchors many of the scenes with a calm, steady presence, showing the kindness displayed by the Newfoundlanders. Bonnie, an animal lover working for the SPCA, is determined to care for any animals that are on the planes, her compassion overriding any concern. Ellie Brock perfectly captured the bravery, determination and sincerity of this part. Doug, Bonnie’s husband, an air traffic controller, tries to balance helping his wife with maintaining his duties at the airport. Ben Tyne brought an emotional openness to the role. Newcomer to KATS, Damian Peat, provided humour and energy as local policeman, Oz, helping to lift the pace and highlight the camaraderie that develops amongst the townspeople. Together, these performances create layers to the story, highlighting the kindness and connection that define the piece.

The stranded passengers who arrive in Gander provide some extremely emotional storylines, particularly through the contrasting experiences of the Kevins and the budding relationship between Nick and Diane. The Kevins, a couple who share the same name, played superbly by Wayne Kenny and Andy Wood, offer a complex and, at times, uncomfortable journey, showing the strain that challenging circumstances can place on real relationships. In contrast, the same event brings characters Nick and Diane together. Portrayed by James Shephard and Caroline Hardaker, their connection, tentative at first, blossoms as the story progresses, telling a story of

hope even in the darkest of times. Together, these narratives highlight the unexpected moments of humanity that happen when strangers are brought together in unusual circumstances.

Hannah, played by Jill Brock, encapsulates the real tragedies that occurred because of 9/11, delivering a truly emotional performance as she waits by the phone to hear if her firefighter son has survived.

Beverley Bass’ storyline offers both inspiration and emotional depth. She made history as the first female pilot for American Airlines, and her character embodies both determination and vulnerability. Stranded far from home, Beverly, played expertly by Sally Feetenby, reflects on her career spent breaking barriers, captured powerfully in “Me and the Sky”.

The show relies on a cast of 12, but with KATS priding themselves on the inclusivity of their society, 7 additional chorus members were added to the ensemble, fitting seamlessly into the action. Christine Bonner, Dina White, Abi Shea, Zoe Hoar, Sarah Hailey, Helen Mitchelmore, and Megan Kenny helped to create the story and added to the rich harmonies and powerful singing that were a feature of this production.

The music that accompanied this beautiful story has its roots in folk music, which was delivered beautifully by the small band including Mat Cook (guitar), Phil Williams (bass) and Jennifer Campbell (whistle and flute). It was led by Musical Director, Kathy Kenny, on keyboards and violin and Adam Ryan-Carter on drums. Adam also created the sound effects and soundscape for the show.

The set designed by Karen Sandy-Higham was simple but effective, suggesting the multiple locations required by the plot. The set was framed by two movable, multi-use pieces of scenery, which were a poignant reminder of the Twin Towers. Also effective was a screen used throughout the production to show real news footage sensitively edited by Jay Ryan-Carter.

Complicated technical support is vital for this show. Lighting by Luke Adams, Lighting and sound by Stuey Nosworthy of AVLX, was seamless and perfectly complemented the action on the stage.

The movement of props and furniture by the cast was quick and efficient thanks to the unseen organisation of Stage Manager Isla Murray and stagehand Karina Tyszkiewicz, both of whom made brief cameo appearances on the stage.

Costumes were an integral part of portraying the multiple characters. The costume design by Christine Brooker, ably assisted by Jill Brock and Teresa Chapman, made these changes appear effortless.

Carey’s direction is always innovative, and there were some standout moments in this production. The opening of the show, using soundscape, props and action to suggest an airport, really set the scene. Other powerful moments included the characterisation of different ethnicities, religions and languages, including a moving rendition of the hymn “Make me a Channel of your Peace” in British Sign Language led by Megan Kenny. Come From Away celebrates diversity and the bringing together of people from around the world, and it was important that they were represented appropriately in this production. As KATS has no actors of African heritage, Carey depicted the arrival of African citizens in Gander in silhouette, accompanied by a voice-over from Akintayo Akinbode.

No KATS production would be possible without the tireless work, in the background, of the committee and volunteers. I can’t mention them all by name, but without them, there would be

no marketing and publicity, no front of house team, no props, no set construction and no painting.

I thoroughly enjoyed Come From Away, and if you haven’t already got tickets, I would urge you to grab the last few while you can.