“Because we come from everywhere, we all come from away.”
I recently spent a week in New York, specifically to see as much theatre as possible and one of the shows on my must-see list was Come From Away. I read about the show months ago when it was playing in Washington D.C and had been looking forward to finally seeing it for myself. It was therefore the first show I saw on this trip and was a wonderfully uplifting first night on Broadway.
For those unfamiliar with the show, Come From Away is set on 11th September 2001 and yet, despite all of us being so aware of the terrible events of that day, the story of the people brought to the stage in this new musical are very likely unknown to most of us. Set in Gander, which lies on the northeastern tip of North America, on the Canadian island of Newfoundland, we discover that amid the tragedy of 9/11, in this small remote community, the good we are all capable of was shining through, when 38 planes, carrying 6,579 passengers and crew had to land at Gander following the closure of U.S airspace.
Personally, I had never thought about the immediate ripple impact of the tragedy for other aircrafts in the sky that morning and I was stunned by how this small community and those of the surrounding area, pulled together to help the stranded passengers and crews, who effectively doubled their population within hours. From providing food, clothing, medicine, shelter and someone to talk to, it’s incredible to see just how much was done to welcome an international group of strangers to their island. Indeed, it carries more resonance at a time when refugees from around the world are facing greater barriers and hostility to settling elsewhere.
Through Come From Away, we see the lives of people thrown together, far away from home and without any of their possessions (bags remained on the planes, as these were all initially viewed as potential bombs), who over the next five days form friendships, relationships and a special bond between themselves, but also with the people of Gander, that continues to thrive to this day; there are reunions and Newfoundland is the only place outside the USA which has steel from the World Trade Centre.
Writers David Hein and Irene Sankoff interviewed thousands of people and have skilfully woven these stories together to create a musical that provides moments of joy, hilarity and fun, as well as its emotional moments. With so many stories available to them, the small cast of just 12 find themselves switching roles (and dialects) multiple times in order to provide us with a glimpse in to the forms of generosity that took place during those days in September. Whether playing the locals going about their daily lives until everything changed, to the passengers left cut off and unaware of what was happening (remember back then, fewer people had mobiles), to the captain of one of the planes, the strength of this ensemble is a huge asset of the show.
Each actor brings something special it and is likely to portray a character you will remember. There are too many to talk about them all, but I particularly enjoyed Chad Kimball and Caesar Samayoa’s lovely portrayal of a gay couple, whose relationship is gradually put under strain due to how 9/11 has affected them, Petrina Bromley’s vet, who took it upon herself to ensure that any animals being transported on the planes were cared for and Lee Macdougall and Sharon Wheatley whose characters include American Diane and Brit David, who were on the same plane and through such tragedy find love. There is also Q. Smith’s moving performance of a mother desperately waiting to her news of her son, a firefighter in New York, which felt even more emotional seeing the show in the heart of the city and Jenn Colella’s lovely performance as Captain Beverley Bass, a female pilot trying to comprehend that her beloved planes have been used to create such horror.
Such a story needed to be told with the right balance of entertainment and sensitivity and this is something the creators certainly achieve. There are moments of great humour intermingled with moments that have you shedding a tear and I particularly loved the smaller moments of human kindness, such as a local man who communicated to a non-English speaking couple not to be afraid through highlighting passages in their bible.
What also struck me about Come From Away was that it’s not your typical musical, which is something I loved about the show. It doesn’t have your typical musical structure. There aren’t show tunes between spoken scenes as such, but a series of stories that happen to be told through moments of spoken verse and singing. I’ve heard some people comment that the show needn’t have been a musical, but I disagree, as it is through the musical element that the emotional depth of these individuals and what they experienced can be truly told. Having the characters sing how they are feeling allows them to express to us emotions that would have not have come across as vividly through just words. It also means we are treated to the talent of the musical’s band, who through drum, fiddle and pipes bring Newfoundland’s signature style of music to life for a wider audience.
I thoroughly enjoyed Come From Away and would recommend it to anyone making a trip to NYC, especially those who perhaps don’t usually like musicals. Having won the Drama Desk Award for Best Musical this week, it is also a strong contender in this year’s Tony Awards and I for one think that there is no better time than now, to see a show that reminds us of the goodness in the world and how even in the face of tragedy, people will always come together to give each other strength and love.
Come From Away is currently running at the Gerald Schoenfeld Theatre (236 West 45th Street). Running Time: 1 hour 40 minutes. For more information and ticket availability, visit its website here. $38 rush tickets are available from the box office every morning.