Come From Away

Oh the joy of a modern musical: with slick movement and transitions that glide as smooth as butter. Not many companies have managed to put this show on yet as it’s so new, plus, amateur rights have only just become available. So this is all new and refreshing: doubly so, as it tells the true story of the planes that diverted to Newfoundland during the harrowing happenings of 9/11. An odd story to create a musical around perhaps, but absolute genius in construction. And deep within its apparent simplicity lies a very complex set of scenes that only look fluid and gorgeous when you get them right. And we all know that simple requires extra effort and tons of extra work, as there’s nowhere to hide. 

Worthing Musical Comedy Society have yet again excelled and achieved this with aplomb. Directors Mandy Chapman and Jeff Raggett had a clear vision for this show and the energy and pace with which is delivered is superb. You can feel the energy off the stage from the actors: the exuberance, the fact that they are always focussed. It’s also a show where the cast can excel in ensemble work, due to the way it’s written, the multi-rolling and cast moving furniture behind the main action at the front so when the new scene is revealed it’s as if it’s happened by magic. The generosity of the actors and the awareness of space and exquisite timing made this a joy to watch. Beautiful work!  

There is a unique style of movement in this show which some may view as dancing: either way, it’s clear this is associated with the show and needs significant movement / choreography not least of which for timing. Everyone was synchronised. It was a joy to watch, as was the simultaneous stopping of two buses, and the inertia movements of those on the buses. They were tight and the energy never dipped: this level did not drop at all the entire way through. It’s a joy to watch things being so beautifully done with chairs and a couple of tables: from buses, to the planes, to houses, just with people believing in them and all working as one. 

There are some lovely moments in this, some standout pictures on stage. The moment on the bridge is always so heartwarming and heartbreaking at the same time: Jack West as Nick and Beth Riggs as Diane had such a lovely dynamic between them which made us believe the burgeoning connection from very different loneliness, and blossoming love. Beth’s voice is stunning as well: so clear, such beautiful tones. Marie Ball was a hoot as Annette with her exaggerated retelling of her encounters which perhaps only happened in her head! The developing support friendship between Lindy Stannard’s Beulah and Charlotte Moroney was so lovely to see: you could feel their connection. Lindy’s voice was another standout, and the acting here was of the highest standard. As was Jack Winrow in all his different parts, including the stroppy son. His characterisations were all quite physically different too which was so interesting. In fact everyone in the cast was amazing, led by the Mayor Claude played with quiet, level-headed authority by Tom Brennan that exuded a gentle power and trust from those around him. 

For something set at such a terrible time this musical has some truly funny comedy moments such as the cardiologists, and the initiation ceremony with fish. This really helps the tragic elements land better and it was super satisfying to see these comedy moments played straight, allowing the words to speak for themselves, making them all the more funny. A confident and lovely choice.  

“Who am I, if I don’t feel like the me from yesterday” is such a heartfelt line which stops you in your tracks, really thinking about what they all went through. Worthing Musical Comedy Society have done this story and show so super proud: nothing but congratulations and praise for them all, resulting in a thoroughly well deserved standing ovation. 

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