It takes something special to make a packed theatre forget it is watching a group of performers on a stage.

But within minutes of Come From Away beginning at the Gaiety Theatre on Saturday night, I was completely drawn into a story I thought I already understood.

When Alex Toohey invited me along to watch the highly anticipated production, I knew I would have been a fool to turn it down.

A few months ago, I interviewed West End director Tara Overfield-Wilkinson, who was working as associate director and choreographer on the Isle of Man production.

Tara has been heavily involved in Manx theatre for nearly 15 years, having worked on previous productions including Miss Saigon, Sister Act and many more.

At the time, she told me: ‘Every time I come over, I'm blown away by the talent on the Isle of Man.’

On Saturday night, it didn't take long to see exactly what she meant.

My companion of choice for the evening was my mum, a Scouser who moved to the island more than 30 years ago after meeting my dad.

I thought the title Come From Away was rather fitting, considering she had ‘come from away’ herself.

It felt like the perfect show for us to experience together, especially as someone who had made the Isle of Man her home after starting life somewhere else.

The musical tells the true story of how the small town of Gander, Newfoundland, welcomed around 7,000 stranded airline passengers after US airspace was closed following the 9/11 terrorist attacks.

It is a story of complete strangers coming together during one of the darkest moments in modern history.

The events of September 11, 2001, happened just over a month before I was born but it was something I grew up learning about through education and conversations.

I knew about the attacks themselves, but very little about what was happening elsewhere in the world as the events unfolded.

One of the things I enjoyed most about the production was the simplicity of the set.

There was no overuse of props, elaborate scenery or flashy lighting fighting for your attention.

Instead, the stage was allowed to breathe, with a handful of chairs and carefully considered staging effortlessly transforming the space into planes, bars and homes.

It was a reminder that powerful storytelling doesn't always need extravagant production values.

The cast filled the stage beautifully throughout, seamlessly moving between multiple characters with seemingly effortless precision.

One moment they were townspeople, the next frightened passengers or airline staff, with every transition feeling smooth and believable.

The simplicity allowed me to focus on the acting, dialogue and emotion behind each scene.

Rather than relying on spectacle, Come From Away trusted its cast to carry the story - and they did exactly that.

Every performer brought warmth, energy and authenticity to the stage, making it easy to become completely immersed in the production from beginning to end.

Tickets are still available from the Gaiety, with the show running until July 18.