Plymouth Theatre Review

Easy to Follow: 4

Family Friendly: 5

Must see: 3.5

Title: ‘Come From Away’

Venue: Devonport Playhouse

Date: 22^nd March 2026

Plymouth Theatre Companies ‘Come From Away’ is an impressive and vocally rich piece of theatre where the strength of the cast is undeniable. This is a company that delivers consistently powerful performances and, in this show, the vocal standard was again exceptional, carrying much of the shows emotional weight and proving once again the fantastic abundance of talent this company has at its core. ‘Come From Away’ is one of my favourite shows, known for its cleverly deployed ensemble style storytelling and it’s endearing message of friendship, kindness and compassion. 

With talent in mind, there were some strong performances across the entire cast. Bart Gamber, Shah Rahman and Shannah Russell being my favourite performances of the evening. Each brought clarity and commitment to their roles, grounding the work in the storytelling and providing engaging and memorable performances.  Gamber playing Claude along with Rahman playing Kevin J, both displayed deep understanding of their character and were a highlight for me in terms of characterisation. Both were distinguishable from their main characters to when they were playing someone else which gave them an edge on some other members of the cast who did not switch between characters as easily. Gamber gave a heartfelt and convincing performance as Claude with his seamless vocals and deep understanding of character pulling on the audience heartstrings especially towards the end of the show. Shannah Russell also fully embodied her role of Bonnie, portraying her compassion and kindness perfectly and providing comedy to piece. As one of the younger members of the cast, she stood out for her storytelling abilities, deep connection to character and storytelling.

Directionally, there are moments where the clarity needed in such a piece begins to slip. Movement sequences that should feel sharp and intentional instead appeared laboured and the stage looked crowded. Performers occasionally bumped into the set chairs and had trouble navigating the space in a way that didn’t disturb the flow of the performance. Formations often lacked precision resulting in a slightly untidy overall picture – something that feels out of step with the usual standard of production with Plymouth Theatre Company.
Characterisation was also an area where the production could have been stronger overall. Aside from Bart Gamber and one of the actors playing the Kevins, there were moments where it became difficult to clearly distinguish between principal characters and the multiple roles portrayed throughout the piece. This lack of clarity was further complicated by inconsistencies in accent work, which at times blurred character identity rather than supporting it. In a show where performers shift rapidly between roles, a sharper focus on defining and refining these distinctions in character would have significantly strengthened the storytelling and ensemble style and made each character feel more fully realised and individual. 

The set design itself also felt somewhat underwhelming when I realised that the wood was a set piece and was not going to slide across at all during the show. With the band positioned behind a wooden screen and actors playing space was dramatically reduced leaving them noticeably restricted, working in a congested area. This raises a practical and artistic question: if the band is on stage, why are they not visible or either side to make better use of the space? The choice feels unresolved and limits the potential energy and fluidity of the staging and storytelling. This leads to a larger issue with the production’s storytelling. There is a noticeable push to emphasise that this is a story about 9/11, when really ‘Come From Away’ resonates most as a story of compassion, community, and human connection. At times, that feels somewhat overshadowed, creating a disconnect between the narrative and its emotional core. The use of projection is perhaps the most divisive element for me.  Incorporating imagery directly linked to 9/11 feels heavy-handed and, at times, unnecessary. The audience does not need to be shown these images to understand the context; the material is already widely known, and it should be left to the audience to visualise these moments for themselves. Sometimes less really is more. By presenting it so explicitly, the production risks undermining its own emotional impact. The strength of this story lies in what the characters experience and allowing the audience to share that perspective is far more powerful than showing it outright.

The costume, while largely meeting my expectations and supporting the storytelling, didn’t always aid in storytelling or flow of the performance in the way it was intended. Some character transitions felt less polished than they could have been, quick changes, often used to signify a change in role, occasionally felt panicked and rushed which in turn, made the execution look untidy and under rehearsed. Given the already restricted playing space, a simpler approach to this could have been more effective, both visually and practically, allowing the cast to easily navigate transitions with greater ease and clarity.

Overall, this is still a strong production with a great cast and outstanding vocal talent. It is a show one can admire and be proud of, particularly in its strong performances. With some more considered choices in staging and more work on characterisation it has the potential to be a 5-star show.