Come From Away is an immersive, insightful and wonderfully entertaining musical that really does welcome the world.
This smash-hit show is based on the extraordinary experiences of ordinary people in the wake of the devastating Tuesday 11 September 2001 (9/11) terrorist attacks. It tells the remarkable real-life story of the 7,000 air passengers who were stranded after their flights were forced to land in Canada in a small Newfoundland town, called Gander, and the residents who invited these “come from aways” into their lives by opening up their homes and their hearts.
Soaring vocals and barnstorming storytelling keep theatregoers safe and sound on the ground as memories are shared. Music, humour and kindness spark solidarity. The production plays straight through, with no interval, and the twelve cast members take on multiple roles and are each rarely off the stage. Consequently, the audience is captivated by an energetic and emotive tale of crisis, charity and community.
This is life-affirming theatre delivered with pace, purpose and passion. A reminder that we all come from away, but we can all be united by a song, a dance, a reassuring touch or smile.
Come From Away is an exceptional ensemble production, which is fitting as the tale it tells is all about collective efforts, rather than the heroics of individuals. The actors portray a wide array of generous Gander residents who give up their time and their town. There’s schoolteacher Beulah (Amanda Henderson), mayor Claude (Nicholas Pound), animal welfare worker Bonnie (Rosie Glossop), police officer Oz (Oliver Jacobson) and fledgling news reporter Janice (Natasha J. Barnes), among many others.
The actors also embody countless passengers, the “plane people”, from all over the world. The narrative allows theatregoers to get to know sceptical New Yorker Bob (Dale Mathurin), reluctant vacationer Hannah (Bree Smith) whose son is a firefighter in New York, conference-bound English businessman Nick (Daniel Crowder) and homeward-bound Texan Diane (Kirsty Hoiles). We also become well acquainted with Kevin T (Mark Dugdale) and Kevin J (standby Kevin Yates on press night), a gay couple from Los Angeles whose relationship started when one of the Kevins was the other’s “sexy-tary” – no, no, he meant secretary!
Trailblazing pilot Beverley (Sara Poyzer), the first female captain of an American Airlines commercial plane, experiences a stopover like no other and proclaims that “planes are not made to sit on the tarmac, they are meant to be in constant motion”. This sentiment satisfyingly captures the spirit of Come From Away as a production. There is plenty going on and no time is wasted. Think fluid and episodic scenes, short comedic interludes, a fast-track romance, thought-provoking commentary and relatable quips.
The songs boast informative and witty lyrics. The soundtrack includes upbeat group numbers, touching ballads and a standout solo (‘Me And The Sky’, which is about Beverley’s journey), all sung with compassionate harmonies and accompanied by an onstage band. Routines are enhanced by atmospheric lighting and performed with effective pedestrian – often passenger-inspired – movement. The set design is essentially a woodsy background, flanked by tall trees. This enables the space to be transformed into all the necessary locations simply through the actors’ interactions and the reorganisation of furniture.
Wooden chairs are deftly arranged in an assortment of ways to depict a Tim Hortons restaurant, an air traffic control room, an aeroplane, a bus, a school, a bar… Depending on the scene, cast members periodically sit, perch, straddle and stand atop the seats. Folded torsos and furrowed brows communicate confusion as an order to divert all planes is received. Fidgeting arms, legs, heads, hands and feet show the nervousness and impatience felt by the people trapped on a plane “for over an entire day” (‘28 Hours’) – culminating in an unexpected Mexican wave after they have drunk the plane dry. Later, they sidle into new positions, inching past each other, to board a bus. Bodies collectively lean into sharp turns, while faces express terror in response to being somewhere in the middle of nowhere and shock when a moose on the road stalls progress to wherever it is the “plane people” are going.
Spacing between the chairs effectively emphasises the feeling of being surrounded by other people yet feeling alone, as well as the way that the town has suddenly doubled in size. In the school, the sense of isolation is reinforced when the “plane people” wake up from their exhausted slumber among strangers – the chairs they sit on are spread out across the stage and turned to face in different directions. In the karaoke bar, in stark contrast, chairs are pushed together to form a shallow semicircle, with musicians bouncing around right behind them. This accentuates the close sense of community as the “come from aways” become honorary Newfoundlanders (‘Screech In’). They drink a shot of “screech” (a type of rum, which seems to be very potent), “kiss the fish” (yes, they pucker up and tentatively brush their lips against a freshly caught cod) and recite a rhythmic oath while dancing exuberantly (there’s scissor-kicking, galloping, stamping and clapping).
By the end of Come From Away, the “plane people” are islanders – and so are theatregoers. This musical really does wrap you up in a moment. It honours what was lost and commemorates what was found when the very worst of humanity was juxtaposed against the very best of humanity. It acknowledges that shocking events change the world in irreversible ways, but kindness still makes a world of difference. Expect to leave the auditorium with a generous helping of hope and happiness in your heart.
Running time: Approximately 1 hour 40 minutes, with no interval.
*Production photography by Craig Sugden.
Come From Away continues at Milton Keynes Theatre until Saturday 30 November 2024. The UK tour continues until 5 January 2025.
This review is also featured on Total MK.
Georgina Butler is an editor, a dance writer and a ballet teacher.
