Come From Away is fun, heartwarming and, perhaps most importantly, an absolute joy to watch. If you’re looking for a show to see, or even just a soundtrack to listen to, I cannot recommend it enough.

On Tuesday 8th November, my Youth Theatre group leaders had very kindly organised a trip to the West End for us. Upon voting on a few shows, Come From Away was chosen, those of the group having already seen it the most excited of all.

The atmosphere was exciting and everyone was anticipating the main attraction: the play itself. I was simply happy to be there, and had no idea how exactly blown away I would be by the end of the performance.

When asked about whether she would recommend this show, Beth Clough, 15, could not be more enthusiastic: “I think it’s a beautiful production with an extremely clever script and choreography. It brought out all my emotions and is a fantastic depiction of the true events that took place. I think it’s a show everyone should see.”

The Phoenix Theatre is intimate but not too small, and the stage itself is a simple set that makes use of just a few tables and chairs, as well as a (very cool) revolving stage. This allows for effective choreography to take centre stage rather than the setting itself.

The story is absolutely phenomenal - based on a true story, Come From Away tells the story of an extremely small town in Newfoundland, Canada that must house over 7000 passengers from 38 planes that have had to make an emergency landing after the terrorist attacks on the 1st September, 2001. Come From Away deals with the emotional trauma, solidarity and even racism that stemmed from the attacks. Grief is presented in a beautifully sensitive way, accompanied by the kindness and hospitality of the town’s residents, including well-integrated comedic moments, such as the introduction of the town’s customs and traditions.

The music was amazing, played by a live band with a range of instruments, including a bouzouki, fiddle, mandolins and what I believe to be a doumbek. This added a multicultural element, further emphasising the message of unity and celebrating our differences.

A favourite moment of mine was shown in a combination of religion and cultures - the song ‘Prayer’ begins with a Christian hymn, and soon Jewish, Hindu and Muslim prayers join in, the harmonies intertwining and symbolising both unity and pride in culture.

When a man who does not know English is afraid in his new environment, a bus driver uses the Bible to communicate with him. This breaks down language barriers and creates a sense of hospitality that lasts the entire musical.

A slight criticism I have is that the musical fails to elaborate much on the theme of racism and islamophobia (bar a few scenes) in favour of hope for the future. What it does mention, however, is effective and gets the audience thinking.

Come From Away has no interval in between, and so naturally is a rather short play. This appealed to Iris Grison, 15, who says that it “kept my attention the whole time” and that it made the musical “unique”.

Every single person I spoke to about the production could not recommend it more eagerly. Iris named it “entertaining and endearing”; Rose Leahy, 15, called it “one of those musicals where from the opening note you know that it’s going to be amazing” - and I couldn’t agree more. Come From Away tells an emotional tale with a perfect mix of solemnity and lightheartedness. Let’s hope that it runs for a very long time, so that as many people can witness this wonderful story as possible.

Come From Away is on at the Phoenix Theatre in the West End on Monday-Saturday at 7:30pm, as well as a matinee performance on Wednesdays and Saturdays at 2:30pm.