Book, Music, and Lyrics by Irene Sankoff and David Hein
Directed by Christopher Ashley
Review by Dominic Corr
“Welcome to the Rock if you’ve come from away” sings Nicholas Pound to the audience, open-armed as the mayor of Gander, Newfoundland. Get ready to be immersed in the experience of the 7,000 people whose flights were diverted to Gander in the aftermath of the 9/11 terrorist attacks on New York. These ‘come from aways’ were welcomed with warm if drastically unprepared arms to the small island community; their 5 days together is charted by hit musical Come From Away, a phenomenon that took Broadway, and then London’s West End, by storm, now touring UK theatres until January 2025.
Come From Away begins in Gander on September 11th 2001, when the town hears of the disaster and the imminent arrival of all the diverted planes to its large and nearly obsolete airport, a former fuel stop-off before planes developed to be able to cross the Atlantic on one tank. This is not a traditionally cast musical – there are no ‘leads’ here; each actor plays a variety of roles, from Gander townsfolk to a parade of “plane people” from all walks of life. The 12-strong cast feels larger as we meet people from across the globe; despite the wide array of characters, you cannot help but be invested in each one, impeccably drawn as they are by writers Irene Sankoff and David Hein, and brought to life by a phenomenally chameleonic cast (accompanied by an awesome live band).
Presumably cheap to cart around the country, Come From Away’s set amounts to little more than tables and chairs. However, safe in the hands of this cast and creative team under the direction of Christopher Asley, it is incredibly easy to buy into the transformation of these unassuming items into believable, vital sets: from a frenetic, hi-tech air traffic control centre to a riotous local pub, to a claustrophobic aircraft cabin. As the cast lugs the furniture into various configurations, Howell Binkley’s lighting design does the metaphorical heavy lifting as it fills in the gaps, suggesting space and mood that bring scenes to life. The song 28 Hours squashes the cast into the stifling atmosphere of the plane cabin when the diverted passengers were stuck waiting to disembark.
This is a shining example of when exceptional stagecraft from every department combines to create theatre magic, transporting the audience into the character’s reality. The cramped conditions are so believably recreated with nothing more than chairs, the familiar annoyances of plane travel woven into the choreography as the cast groans and stretches. The music itself emulates the rollercoaster of emotions, from crescendos that evoke frantic, chair-rocking frustration to hushed moments when the passengers are scared and vulnerable. This push-and-pull of emotions permeates the whole show and is an intense experience as an audience member – if you’re not crying at any given moment, you’re laughing, and you’ve probably also got goosebumps.
The music and book from Sankoff and Hein are goosebump-inducing in themselves and taken to new heights by a supremely talented cast. Jamal Zulfiqar is enthralling to watch, hysterical as Kevin J and gut-churning as Ali, a composite character whose experiences of prejudice are drawn from the stories of various Muslim passengers. Ashleigh Harvey, standing in tonight as Janice, the rookie TV presenter, is endearingly earnest and puppy-dog-like, allowing Harvey to really hit home her moments of despair. Mark Dugdale is an experienced treat for national audiences, having played the role of Kevin T on the West End, and he brings humour and nuance to every character. Sara Poyzer is gloriously Alpha as pilot Beverley Bass, taking on the anthemic Me and the Sky with incredible vocal and emotional range.
Musical stager Kelly Devine has pitched the movement style so perfectly to Sankoff and Hein’s music – the crash of energetic and urging choreography against the swells and punches of the score is euphoric. The subject matter is, of course, harrowing, and there are plenty of tear-jerking moments, but optimism is the overwhelming emotion you’ll feel as you leave the theatre. The core message of the musical is the kindness of strangers and the importance of showing empathy and humanity to those in their hour of need. Pitching a night out to a 9/11 musical to your family and friends might not provoke immediate enthusiasm. Give it a chance, though; you’ll cry, laugh, stamp and cheer at the end as the live band close the show, and you’ll come out feeling a bit lighter and, honestly, a bit changed.
You’ll Cry, Laugh, Stamp, and Cheer
Come From Away runs at The King’s Theatre, Glasgow until September 28th. Tue – Sat at 19:30pm. Matinees on Wed, Thu and Sat at 14:30pm
Running time – One hour and forty minutes without interval
Review by Annie Aslett (contact@corrblimey.uk)
Annie is a not-so-recent graduate of the University of Edinburgh with a degree in French and Spanish, along with a Masters in Translation from the University of Glasgow. A Spanish teacher for three years, she decided to leave the classroom behind to pursue personal goals and has since been regularly reviewing for Corr Blimey’s Glaswegian wing. Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room.
