Theatre Royal, Nottingham – until 5th October 2024
Reviewed by Howard Whitehurst
5*****
Come From Away had a very successful run in London a few years ago and this is its first visit to Nottingham as part of a major national tour. It was written by Canadian team Irene Sankoff and David Hein and first performed in Canada before opening on Broadway to great acclaim. When I tell you that its back story is the tragedy of 9/11, and we all know what happened then, you might think it dull subject matter for a musical but it’s a wonderful story of fellowship and kindness in the face of great tragedy.
On that day in 2001, when international flights into USA were grounded, Gander, in Newfoundland, found its population double in size when 38 planes were forced to land unexpectedly. And when almost 7,000 strangers arrived, the locals set to work, entirely unprepared, to make their visitors feel welcome. Food was drummed up, beds found, activities, and even internet access, were organised such that the friendships formed have endured to this day.
From the rousing, full-ensemble opening number, Welcome to the Rock, we knew we were in for a very entertaining evening. The cast of 12 each played a number of different roles, from the captain of one of the aircraft, cabin crew, passengers and local Gander people and they did this seamlessly with unbelievably quick costume changes, well-chosen props and various accents. It was an energetic performance, the pace never slipped and we were treated to some excellent singing from the multi-talented group of actors.
The musical numbers matched the evolving story, whether it was sad or funny, and it is a challenge to pick out any outstanding moments but I am going for the wonderfully entertaining Screech In which was followed by Nottingham’s own Sara Poyzer delivering the thoughtful and inspirational Me and the Sky.
Christopher Ashley’s direction is full of energy, fast-moving and intense with the contrasts between the darkness and the losses of the story and the humour of everyday life sharply drawn, yet sympathetically balanced. Kelly Devine is responsible for the stylised movement in some of the sequences and scene changes, when tables and chairs are turned into bars, coffee shops, a plane and even an air traffic control centre.
Beowulf Boritt‘s simplistic set design uses pine trees to frame the acting area along with wooden panels and signs and it’s well lit by Howell Binkley. Andrew Corcoran’s musical direction is rousing and rhythmic and delivered by an excellent eight-piece band just out of sight, but still on stage.
I’m pleased I didn’t know much about this show prior to this evening as, in spite of the bleak nature of the subject, I was able to enjoy a truly energised, uplifting performance with brilliant singing and dancing, fully meriting the standing ovation for both cast and band