So there’s this musical, it’s about 9/11 and it’s one of the most uplifting stage shows I’ve ever seen. No, I never thought I’d be writing that sentence either, but that is precisely what “Come From Away” is – a show about one of the most traumatic events in human history that still manages to leave you with a smile on your face.
The musical is set in Newfoundland, an island off the coast of Canada, where aeroplanes are diverted in the wake of 9/11. The small town of Gander almost doubles in size as numerous refugees (or, as they refer to them, “Come From Away”ers) are stranded. We begin with an introduction to the population of Gander, including Mayor Claude (Nicholas Pound) who leads the rousing number “Welcome to the Rock”, as the citizens learn about the attacks on America.
As planes start to arrive, the cast effortlessly switch between roles to portray a wide range of passengers. The multi-role on display here is astounding from all the cast, with Jamal Zulfiqar particularly standing out as both the dramatic and oh-so-camp Kevin J and the terrified Egyptian Ali, who is questioned by guards and shunned by other passengers once they discover he is Muslim. What’s particularly nice here is the small moments of human interaction, which feel realistic and do not shy away from displaying humanity at both its kindest and ugliest.
One particular story that struck a chord with me were an African couple (Dale Mathurin and Bree Smith) who struggle to communicate with the Newfoundlanders. With no translators available – and no internet on hand to translate for them – the Newfoundlanders resort to using the Bible, locating passages and verses to help them offer reassurance to the couple. The Newfoundlanders also recruit volunteers to help cook, clean and provide clothing. People give up their homes and help create safe spaces for people of all different religions to pray. This is a story of a community coming together, at a time when the world felt so scary and fractured.
In the background, multiple storylines run side by side. Englishman Nick (Daniel Crowder) begins to fall in love with Texan Diane (understudy Angeline Bell), knowing that in a few days they will go their separate ways and perhaps never see each other again. This story is mirrored with boyfriends Kevin J and Kevin T (Mark Dugdale), whose relationship begins to break down during their time in Gander.
One of the high points of the show sees the Come From Away-ers head to the bar where they are made honorary Newfoundlanders. The music swells during the song “In the bar/Heave Away”, and the band head onto the stage themselves to join in the revelry. It is amidst this sheer joyous number that Nick and Diane take their relationship to a new level, whilst nervous young man Bob (Mathurin) begins to forget his inhibitions and starts to enjoy himself.
There are moments of sadness amidst all this joy. The entire story plays out alongside the backdrop of a truly horrific tragedy, and each character is affected in different ways. Pilot Beverly (Sara Poyzer) laments about the use of a plane as a weapon in the song “Me and the Sky”, whilst mother Hannah (Smith) seeks news on her son, who is a firefighter in New York during the number “I am here”. Both songs are reminders of the confusing times in which these characters live, bringing a sobering commentary to this otherwise fun-filled play.
This national tour is a replica of the West End production, meaning that the set, design and costume is largely the same (unlike the current tour of “Dear Evan Hansen”, which completely reimagines the production with an all-new production team). The set (Beowulf Boritt) is simple, allowing the cast space to bring to life multiple different settings. What is truly remarkable is the way in which this is done – different dining chairs and a couple of tables are all that are needed to transport us from planes and buses to community centres and bars. The movement of the chairs is a technical marvel – whilst the cast appear to move their chairs without a care in the world, each movement is clearly planned precisely such that each chair ends up where it needs to go. Hats off to director Christopher Ashley, who has clearly spent a long time planning the intricate movements of cast and furniture.
The term “feel-good” has never been more appropriate. Despite the moments of sadness which are sure to bring a tear to your eye (I never thought I’d be welling up over a Bonobo chimpanzee, but here we are), I have never seen a play that has left me feeling so alive and filled with overwhelming joy. As the band emerge after the bows for their final “Screech Out”, you will be dancing in the aisles with the rest of the audience, proud to be human and filled with hope even in the darkest of times.
Tom Morley, October 2024
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