Come From Away - The Idols Review

★★★★★

There are some nights in the theatre that remind you exactly why we do it. The audience leans in, the performers give everything, and for a few fleeting hours, an entire room of strangers feels completely united. The Idols’ Come From Away at Leicester Little Theatre was one of those nights; a heartfelt, farewell performance from a company bowing out after seventy years. The question hanging over the evening was simple: how do you say goodbye after such a long run?

Sarah Barton-Wales and Ensemble - Photo Credit: Poyner & Mee.

Come From Away is a heartwarming and powerful musical based on the true story of 7,000 airline passengers who were stranded in the small town of Gander, Newfoundland, after the September 11 attacks closed U.S. airspace. As the bewildered “come from aways” descend on the remote community, the locals open their homes, hearts, and kitchens to provide comfort and care. Through moving stories, vibrant folk-rock music, and moments of humour and humanity, the musical celebrates compassion, connection, and the extraordinary kindness of ordinary people in the face of unimaginable tragedy.

It’s no exaggeration to say this was one of the best pieces of amateur theatre I’ve ever seen, and I don’t say that lightly. Come From Away is not an easy show: it demands precision, stamina, and a deep understanding of emotional storytelling. Yet under the masterful direction of Ian Phillips, The Idols not only rose to the challenge but soared. The result was a production overflowing with heart, perfectly paced emotion, and a genuine sense of community. Phillips deserves enormous credit, not only for his direction but for his commitment, having underwritten the show personally to give this group the farewell it deserved. After more than 50 years with The Idols, Phillips’ passion and care was felt in every beat.

The cast worked as a true ensemble, each performer stepping into multiple roles with charisma. Joshua Taylor Williams was particularly moving as Bob (and others), his final monologue bringing a silence to the theatre; a raw, honest depiction of devastation that felt heartbreakingly real. Carissma Griffiths delivered a similar powerhouse performance as Hannah, embodying grief and resilience in equal measure. Her emotional sincerity left more than a few in the audience wiping away tears — including me!

Ensemble Cast during Kiss The Fish - Photo Credit: Poyner & Mee.

There was no shortage of laughter, either. Dan Brewer balanced sharp wit with sensitivity, shining both as one half of the gay Kevins and the quietly serious Ali. Norman Buckby was an utter delight as Nick, the awkward but endearing Brit whose warmth anchored several scenes. David Jackson, as Oz, provided endless energy and charm, a spark of joy whenever he stepped on stage. Together, this cast brought the humanity of Come From Away vividly to life.

The evening’s musical heartbeat came from the live band, superbly led by Musical Director Kate Bale. Though occasionally a little quiet in the mix, the musicians delivered with precision and passion, propelling the show with the vibrant pulse that defines Come From Away. Bale also drew exceptional vocals from the company, tight harmonies, emotional solos, and ensemble numbers that filled the space beautifully.

Visually, the production looked fantastic. The set, provided by Scenery Solutions, echoed the West End staging with a professional polish, while Lighting Designer Andy Crooks created fluid, expressive transitions that guided the audience seamlessly through scenes and time shifts. A few too many blackouts occasionally broke the rhythm, but it was a minor quibble in an otherwise thoughtfully executed design.

Carissma Griffiths and Clare Snow. Photo Credit: Poyner & Mee.

And then there were those incredible moments that will linger in the audience's memory for a long time. Sarah Barton-Wales gave a breathtaking rendition of “Me and the Sky”, powerful, grounded, and utterly commanding. Liz Kavanagh’s Bonnie was all heart; her warmth towards the animals was captivating, and her Newfoundlander accent was spot-on! Similarly, Cathy Robinson’s Dianne glowed with sincerity, particularly during “Stop the World,” which she delivered with touching authenticity.

Vaughan Barton-Ashcroft, as Kevin and others, brought fantastic energy; his ability to craft distinct characters in quick succession was remarkable. Andy Marmoy, playing a host of Gander’s mayors, struck the perfect balance between authority and comedy, giving the audience plenty to smile about. Lutricia Russell, a musical theatre graduate with a bright future, sparkled as Janice, capturing the excitement and anxiety of a young reporter in crisis. Clare Snow was beautifully open-hearted as Beulah, a performance brimming with warmth and compassion. Together, this ensemble was unstoppable. The connection between the cast members was palpable; they supported, listened, and lifted each other in every scene, creating the kind of onstage chemistry that can’t be faked.

Yes, a few lines in the opening number felt rushed, and yes, a mic or two missed its cue, but these are mere ripples on an ocean of excellence. What mattered was the emotion, the unity, and the overwhelming sense that this was a company giving absolutely everything for their final bow. The audience recognised it too, responding with a heartfelt standing ovation that felt as much a thank-you for seventy years of theatre as for this one extraordinary performance.

It’s bittersweet to know that Come From Away marks The Idols’ final production, but what a note to end on. This wasn’t just a show; it was a celebration of kindness, resilience, and community, both onstage and off. Leaving the theatre, I felt that rare mix of joy and loss: elated by what I’d just seen, and saddened that we won’t see this remarkable group perform again.

There was something profoundly special about this performance, not just because it marked The Idols’ final bow after seventy remarkable years, but because it felt like everything they’d learned, loved, and lived for in that time was poured into this one show. Come From Away was more than a production; it was a celebration, a farewell, and a thank-you rolled into one. Every performer, every note, every creative decision carried the weight of a company determined to end its journey on a high, and they did so with extraordinary grace and generosity. The cast gave everything they had, and the audience met them with open arms. If this truly is The Idols’ last chapter, then it’s a perfect ending.