Come From Away

‘Come From Away’ is a poignant musical based on an act of humanity from the population of a small town after the horror of 9/11 2001 when the world witnessed the horror of an unbelievable attack on the Twin Towers in NY. US airspace is closed and planes are being diverted to Canada. On her first assignment, a nervous TV reporter informs the Town Mayor of Gander, Newfoundland, Claude, at the local donut restaurant Tim Horton’s, 38 planes with 7000 passengers, almost doubling the town’s population, are to land at Gander International Airport. The musical follows the fast reaction to the situation, the logistics, frustrations, and fear, tension, religious differences, breakups, thoughtfulness, sadness and friendships that were created during the few days before the planes could eventually take off again.

With Tara’s passion, assisted by Kate and Emily, they ensured that this story was told to deeply connect performers with us the audience and yes we did laugh, and the tears formed and we enjoyed the wonderful music with a live hidden band, both moving pieces, rock and toe tapping Celtic influenced song and dance. As written, the talented cast doubled up on characters which although complex was perfect on a relatively small stage. Action and script was fast throughout. Slick changes from every day present time garb adding assorted items provided by Sophie Ringrose as uniform jackets, coats, hats and various props organised by Nicola Dealtry and Helen Watts were perfectly choreographed, and quick constant changes of accent altered characteristics. So many sequences included, but I especially enjoyed the initiation ceremony of becoming a Newfoundlander by the kissing of a huge cod fish and the yellow sou’westers. The numerous musical numbers be it solo, group or whole company were exceptional under the guidance from Daniel Goodger MD and on Keyboard and his players including adding to the theme the fiddle and Irish whistles. Choreographer Naomi added her touch with the jolly Irish themed dance movements which the cast obviously enjoyed.

An introduction video showing on the front gauze with the cast members as passports was created by Jo Flay and was a rather nice touch as was the airline ticket with a thumbnail picture in the programme. The rustic set using wooden ununiformed slats designed by Tara and Paul Fuggle, was constructed by Paul with artwork from Mark Fisher. The addition of neon signage effective too. The stage furniture consisted of uniform wooden chairs and a couple of tables and with slick movement were configured by the cast to create different scenes – different angles and synchronised movement creating motion. The action was nonstop for the duration of this one act performance. I’m not going to name the talented twelve individual performers as this was a true ensemble piece with each having multiple roles with each bringing life to them creating strong emotion, passion, love, frustration and enjoyment through humour too.

Paul Webb was SM ensuring smooth running. The technical side was first class too, with James Dean, Jayne Reid lighting and Owen Hawes sound. Sitting in the middle of the front row I was totally drawn into the action and certainly emotionally drained by the end.

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