Emotional, powerful and moving theatre at its best - this show is a must see
Presented by: Junkyard Dog Productions, Rodney Rigby and Adelaide Festival Centre
Reviewed: 29 March, 2023
Adelaide, welcome to the rock! Come From Away has finally arrived and it is nothing short of a winner. “Tonight we honour what was lost, but we also commemorate what we found.” Come From Away does this in bucket loads and then some.
Come From Away is the inspiring musical based on real-life events that came out of the aftermath of September 11. Don’t let that put you off. This show is a hundred minutes of emotional, powerful and moving theatre at its best. Set in Gander, Newfoundland, 38 planes carrying nearly 7,000 people from over 100 countries were redirected when the airspace over America was shut down. In a heartbeat, the population of this remote Canadian town almost doubled. The local community of Gander opened their doors with welcoming arms and invited the “come from aways” into their homes. Award-winning writers David Hein and Irene Sankoff travelled to Newfoundland and interviewed thousands of locals, turning their stories into this award winning musical.
Very few musicals can do what Come From Away does. The whole show is a roller-coaster of emotional story-telling, taking you on a journey full of twists and turns that have you laughing one minute and then an emotional wreck the next. Running at just over an hour and a half with no interval, Come From Away pulls you in from the opening pulsating beat of the bodhran (Celtic drum) to the final downbeat of music. Strap yourselves in — this show packs a punch.
The cast of twelve play several characters each. Come From Away is an example of ensemble theatre at its finest. Every cast member switches between roles by the simple adding of a jacket, coat, glasses or hat. They work seamlessly as a unit, weaving in and out of stories and characters. Kudos must go to the dialect coach, Joel Goldes, whose fine work is showcased in the faultless swapping between a multitude of accents. Musical Director Michael Tyack’s work with this cast is exquisite. Their vocal harmonies explode off the stage with precision. Their diction is crisp and clear, even in the pulled back quieter moments.
It is hard to not want to write about each and every member of this cast in great detail, as they are all deserving of it. However, there were several standout members of this ensemble that caught this reviewer’s eye. Kat Harrison (Bonnie and others) played her roles with such infectious energy you could help but be drawn to them. Harrison was also able to find some wonderful light and shade within the role of Bonnie — you could feel her anguish when she was caring for the trapped animals on the plane, especially Unga, the bonobo chimp. Joe Kosky’s (Oz and others) mannerisms and voice between roles was brilliant. Kosky has a strong stage presence and excellent acting and singing chops. I was fortunate enough to see Kosky in Kinky Boots and am impressed to see his versatility as an actor shine through in Come From Away. Zoe Gertz’s portrayal of Beverley Bass, the first female captain of an American Airlines commercial plane, was nothing short of brilliance. Gertz’s rendition of the sensational Me And The Sky was spine tingling. I saw Come From Away in Melbourne in 2019, and it is wonderfully pleasing to see Gertz really settle into this role and to be able to hear her belt out this number (and others) once again. Emma Powell and Sarah Nairne beautifully play Beulah and Hannah (and other roles). They both are exquisite to watch and listen to. They bring so much depth to the roles they play and bounce off each other extremely well. The rest of the cast, Kyle Brown (Bob and others), Manon Gunderson-Briggs (Janice and others), Douglas Hansell (Kevin T and others), Phillip Lowe (Nick and others), Joseph Naim (Kevin J and other), Natalie O’Donnell (Diane and others) and David Silverstri (Claude and others) are sensational. This is a beautifully inclusive cast that portrays the stories that played out in Gander after September 11 with sensitivity and authenticity.
Irene Sankoff and David Hein’s score, along with August Eriksmone’s orchestrations and Ian Eisendrath’s arrangements, are sensational. The score perfectly accompanies the stories being portrayed, using sounds from cultures around the world to accompany the story. The Come From Away band is one of the best theatre “pit” bands I’ve had the pleasure of hearing. Scattered around the stage, the band is as much a part of the cast as the ensemble is. Michael Tyack (Musical Director) leads a sensational nine piece band that weave in and out of musical styles with ease and precision. As a musician myself, it is wonderful to see the band get one of the loudest cheers of the night and to see the whole house stay and dance to the energetic play-out at the end of the show. These musicians are worth the ticket price alone.
The scenic design, by Beowulf Boritt, though remarkably simple – a scattering of bare tree trunks, several chairs of various makes and models and two tables, with a section of the stage floor that rotates – are used in the most wonderfully choreographed way. A more complex set would detract from the story-telling. Howell Binkley’s lighting design is unobtrusive, but beautifully complements the staging. The sound design by Gareth Owen perfectly balances the cast with the band, pulling your ear to the key moments and never creating a muddy sound mix. Toni-Leslie James’ costume design pulls on warm tonal colours and cleverly allows each cast member to switch in and out of roles with ease.
Come From Away is a show that still isn’t as well known as it should be, but it certainly is a show you need to see. It reminds you that even in the darkest of times, there are still good people out there and there is still hope for humankind. Theatre this good is rare.
Reviewed by Ben Stefanoff
Photo credit: Jeff Busby
Venue: Her Majesty’s Theatre
Season: Until April 29
Duration: 100 minutes (no intermission)
Tickets: From $89.00
Bookings: https://comefromaway.com.au/