Come From Away

Come From Away is an emotional rollercoaster which starts mid-journey when 38 planes are grounded in Newfoundland when USA airspace closed following the horrific events of 9/11, but rather than being about that event the show focuses on the kindness, generosity and friendship found in that troubling time.

Wakefield West Riding Theatre Company approached this story with a huge amount of passion and the enthusiasm which shone through in the cast.  The twelve key multi-role characters were supported on stage by an ensemble of 12 who danced, sang and portrayed the community of Gander.  They had been used creatively within the piece and it was evident that the ensemble had created their own roles and found their place within the story.  The named characters are rarely off stage so the parts all require rapid multi-rolling as they shift instantly between characters.   The cast moved from a Newfoundlander to a visitor of different nationality, by simply exchanging a jacket or hat, the logistics of having the right prop or garment in the correct place at the correct time must have been intense.  The dynamic of these 12 allows different stories to be shared in juxtaposition to each other, without bringing any main protagonist to the fore for an extended period and so every player is worthy of recognition.

Libby Fenwick as Janice (and others) gave a touching performance as the recently appointed news reporter who finds herself at heart of the action.  Hannah (and others) were played by Lois Naylor and her rendition of ‘I am Here’ was hauntingly beautiful.  Rob Cannon as Oz (and others) had a strong grasp of the accent and whilst he found great humour he was also central to handling some of the storylines cultural issues with sensitivity.  Clayton Montiero (Bob and others) was wonderful as the bemused visitor who struggled to grasp the generosity of his hosts.

Matt Warren (Nick, Doug and others) played the shy Englishman, Nick, with a gentle naivety and the audience couldn’t help, but empathise when the only people he had to let know he was safe were at his Head Office.  Belinda Lindley (Diane and others) was the Texan woman who falls in love with Nick and she was clearly enthusiastic at the prospect! Lindley delivered some great comic lines.  Another love story, though this time we see the end not the beginning, was between Kevin J and Kevin T.  Oliver Hornby (Kevin J, Ali and others) and Dan Fenwick (Kevin T, Garth and others) were fantastic in these roles and the ability of both actors to switch to such diverse characters, and story lines demonstrated their strong talents.  Fenwick was almost comedic as union representative Garth and Hornby beautifully sensitive as chef Ali, totally displaced in this foreign land and unfamiliar culture.

Tasha Barrett (Bonnie and others) was an absolute standout in this role.   Her acting, delivery and confidence shone through as her character fought hard for the animals caught up in the situation – it was easy to believe she was genuinely talking to a dog or a chimp as she gazed in at their crates.  A great performance.  Beulah and others were played by Rachel Hirst Marshall; her seasoned delivery of lines (all in character) and her strong vocals demonstrated the powerful performer that Marshall is.  Richard Magowan as Claude (and others) really commanded the stage and his crisp switching between accents and characters was sharp and precise.  A fantastic actor who I hope won’t make this his first and only journey to the stage with WWRTC.  ‘Me and the Sky’ is a showstopper of a number and Claire Hookham Williams as Captain Beverley Bass found every ounce of emotion and passion in the song.  Hookham Williams also moved with ease from the slightly gormless Annette with her far-fetched fantasies to showing the control and leadership of an airline pilot who understood what was at stake and the impact this would have on the world moving forward – a fantastic performance.

Movement was terrific.  The routines had been developed to suit the performers and the set and they called for a strong chorus, which was in unison.  Dance Captain Claire Hoggard had no doubt put the cast through the ringer to deliver the routines choreographed by Dee Bennie-Marshall.  Costume and props fitted perfectly with the story line and sound was very strong.

Although there is just single set it is a deceptively complex show requiring a huge amount of precision for the cast, band, lighting, sound and stage crew.  Because of the speed with which the story moves there is a need for superb timing from every element of the performance.   Timing and rhythm are central to keeping this show moving at the fast pace required and this company definitely found that pace.  Lighting was incredible and the placement of the chairs (at times there were 24 on stage) was, in itself, beautiful technical choreography. 

The live band, led by musical director James Greatorex, were phenomenal. They were sited on stage and they weren’t there to only provide accompaniment.  They became part of the story, engaging centre stage with the cast in appropriate scenes and bringing a magnificent energy to every number.  ‘Welcome to the Rock' filled the stage and auditorium with life and this continued throughout all the numbers.  Whilst it isn’t often done to list the band, these talented musicians deserve to be appropriately recognised for their contribution to the production; Jordan Hume (Guitar), Jon Mitra (Mandolin/Guitar 2), Ryan Griffiths (Bass), Nicki Sapiro (Whistles), John Turnbull (Drums), Tom Owen (fiddle) and James Hedgecock (Percussion) with their MD Greatorex on accordion and keyboards.

The company found the community, compassion and connection needed to present this story honestly, with integrity and to make it entertaining and emotional for the audience.   Sincere congratulations to Director and Choreographer Dee Bennie-Marshall and all the Production Team on a wonderful piece of theatre.

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