I remember the first time I saw Come From Away, it was September 2021 and my mum took me for a graduation present. As the lights went down, I remember her saying ‘Isn’t this about 9/11?’. What then unfurled is a story which is very much integrated within that day but also something so much more, as I left the theatre in tears for one of the most life affirming musicals of the century.
Based on the events from 9/11/2001, Come from Away is the true story of what happened when 38 planes were diverted from US airspace to the small town of Gander on the Island of Newfoundland, almost doubling its population instantly. While the backdrop of 9/11 may seem morbid, the production shows how the islanders selflessly gave up their time and resources in order to support their guests, many of whom were not able to contact their families or even speak the language of the town they landed in. It is an incredibly human story of strength in numbers, community spirit and solidarity all pulled together by fantastic direction and casting.
Penned by Irene Sankoff and David Hein, an incredible amount of research has been done to create a story that reflects the lived experience of those who experienced the 5 days on the Island under national emergency. Highlighting that no one story is more important than the other, characters are composites of those who were there to tell a diverse range of stories. This is amplified by the fantastic addition of multi rolling, where the 12 strong cast travel around the globe with their performances in a symbolic representation of the relationships formed during this time. The use of accents is vital, one minute using the very specific Irish led dialect of Newfoundland before switching someone from off the plane. One thing that brought the production up to speed for a British audience was Amanda Henderson playing Beluah, with a regional scouse accent which differs from the original cast recording. This highlighted that the story is closer to home than many of us realise, while also being hilarious as the overdramatic English person which surely most of the audience are familiar with.
The ensemble cast also do a fantastic job of bringing so much warmth and brightness to such a tragic story, but also understand the importance of effectively representing the heartache and challenges many experienced. What the script also has, is an incredible ability to balance the dark with the light, knowing the perfect moment to cut the tension and reward the audience with laughter while also acknowledging the importance of challenging themes such as racism, family loss and turbulent relationships. It’s difficult to highlight a standout performance because such a vital structural element is the ensemble cast, however, there is such a joy in watching the relationship between Texan Diane (Kirsty Hoiles) and English man Nick (Daniel Crowder) develop. Both performances begin awkward but unfold with charisma and nuance like you are watching a real life couple which seems like the utmost compliment for a show which hinges on reality.
The music is folk inspired and backed by a brilliant onstage band. This is incredibly effective, reflecting the sense of community built into the plot with wonderful harmonies along with mirrored movement. That being said, Sarah Poyzer playing captain Beverley Bas (one of the 38 airline pilots) sings a beautiful version of Me and the Sky which details her experience becoming a pilot and how earth shattering it is to find out her profession is at stake due to the events happening. It’s a more conversational version than what is in the cast recording (Can you tell I’m a fan?!), however, it is successful in creating a journey and reminding us this is probably based on a conversation the writers had with the woman herself before penning the song. Nevertheless, the vocals are strong and belting when they need to be, but soft and approachable at suitable moments.
The set is minimal, just a wood panelled backdrop and enough chairs and tables to move around to create different scenes such as an aeroplane, bar or school cafeteria. This is incredibly effective and clearly needs a lot of precision as there is an element of choreography within it, as chairs 2 by 2 become a plane and scattered around the stage in a busy bar. Many productions suffer with the stage feeling empty even when this isn’t the case, however, the risk is eliminated as the direction utilises the space effectively from scene to scene.
As this was a gala night performance, it was concluded by a lovely speech from its producer. Discussing the incredible success of the show, it was also wonderful to see him highlight the importance the the wonderful Swings and Backstage crew of which the show wouldn’t be able to thrive without. The vast amount of people on stage felt very important regarding the shows themes and was genuinely quite emotional. They also bought Come from Away super fan, Lydia Greatrix, onto the stage who has spent the last several years actioning a pay-it-forward initiate in homage to her friend who has now sadly passed away. She has done a fantastic job actioning charity initiatives in her name, something the company are clearly very proud of too. It was a wonderful way to round off the evening and something that is hoped to raise even more money for charity.
Come From Away is nothing short of a triumph, with no single element bringing down the production. A combination of fantastic writing, rousing ensemble moments and outstanding casting there is such joy to be bought out of such heartache. Quite often theatre can hinge on the fantastical and unreal, but the magic comes from the heart built so closely into the show and its portrayals. With some of its future tour venues already sold out, we can only wish it well as it continues to pay it forward all over the country.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Craig Sugden
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