The very welcome return of Come From Away recalls two very different but world-shattering events. First, the terrorist attack on the Twin Towers, which is the unspoken catalyst for everything that happens in the show; and second, the Covid pandemic lockdowns, which paused the run of the show in London in 2020, and interrupted everyone’s lives, enforcing months of inactivity. Two experiences that the whole world could have done without; but two experiences that have shaped our world today and continue to have long-lasting after-effects, that may never go away for generations.
Come From Away celebrates the kindness and generosity of the people of Gander, Newfoundland, who gave shelter, food and support to around 7,000 displaced people who were making their way to New York by air at the time of the attack, thereby almost doubling the population of the town. When something as mind-blowing as the terrorist attack takes place, it puts lesser problems into perspective. Gander, for instance, was in the thrust of (comparative) political turmoil as the school bus drivers were striking, and there didn’t seem to be much “give” on either side of the argument.
But when a true crisis comes along, the drivers did not hesitate to transport their new guests to whatever housing could be provided for them. The Newfoundlanders shopped until they dropped for food, toiletries and other essentials, never asking for any payment. They even gave up their barbecue grills so that hot meals could be provided. Considering there was no way all this rescue work could ever have been planned, the citizens and administration of Gander achieved a most remarkable achievement.
The show has won a series of awards across the USA, Canada and Europe, and, frankly, it’s no surprise. A superb score, vivid characters, and a story of warmth and love that is irresistible to all, this is an inspirational show, possibly comparable only to A Chorus Line in terms of its positivity (and if you know how much I love A Chorus Line, you’ll appreciate that’s high praise indeed). The comparison continues when you consider that both shows are based on the true stories and testimonies of the real characters depicted on stage; and both shows dispense with an interval to maximise the build-up of emotion and inevitable conclusion, as well as unfolding the entire show with admirable brevity.
Beowulf Boritt’s beguiling set, primarily suggestive of the Canadian Forest but adaptable to all the different locations of the show, provides generous performance space whilst housing the super-talented musicians just slightly off-stage in the wings. Within the first few minutes your feet are tapping away to Welcome to the Rock and you’re fighting hard against the temptation to burst into I Am An Islander to the annoyance of your neighbours. As song after song emerges organically from the developing plotlines, one hour forty minutes passes in an instant as you lose yourselves in this absorbingly decent and selfless community.
The new cast for this extensive UK tour are uniformly superb and dovetail each other perfectly as a true ensemble production should. What continues to astonish me is how individual actors, playing many different roles, merge in and out of their characters with a mere doff of a hat or a flick of an ankle; how they keep control of who they are playing, I have no idea! If I were to pick one name out, I’d have to pick them all out, so take it from me they are all fantastic!
I remember that I loved seeing this show at the Phoenix Theatre in 2021, but my sense is that it is even better now, with truly committed performances and a score that ages gently like a vintage port. And it truly does help you to keep things in perspective. After Leicester it continues to twenty-six further venues, ending in Salford in time for Christmas and the New Year. Snap up a ticket while you can.
Production photos by Craig Sugden
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