Come From Away

Come From Away is poignant, uplifting theatre.

It’s enthralling and fast-paced, with toe-tapping folksy music and a diverse cast of characters showcasing aspirational humanity – kindness, generosity, humility, joy, courage and humour.

Set in 2001, the musical is based on the true story of 7,000 passengers who were stranded in Gander, Newfoundland – an unexpected diversion from their USA destinations due to the September 11 terrorist attacks. The small community of 9,000 rallies under pressure, providing comfort, nourishment, accommodation and entertainment for the anxious passengers. Friendships are forged, and the experience is life-altering for all.

I saw the Australian touring show years ago and loved it; it's one of my favourite musicals. I’m pleased to say The Empire production is even better. It’s a little raw and has real soul.

New York-based Australian Director and Choreographer David Wynen created original choreography and movement, generating graceful transitions between scenes and seamless traction. Solo singing moments never felt awkward or costume changes distracting – a remarkable feat considering the cast of 21 are switching characters on stage the entire show. Wynen took what could be chaotic and made it visually poetic.

Dialect work was commendable, and the cast nailed their myriad accents. Special mention to Vicki Bravery and Christopher Thomson, whose line delivery and accent work were outstanding. Dialect coach Dr Kate Foy had her work cut out with 14 different dialects on stage.

The casting was a mix of ages, genders and experience. All were talented actors and held their own in the spotlight. There was good comic timing by Vicki Bravery, Jo Tooley, Dylan Ashton, Lydia Cunningham, Christopher Thomson, Anna Grabham, Ben Tupas and Brendan Thomas-Ryland. Seasoned performer Jon Maskell and Dan Stewart brought beautiful vocals and confident stage presence. Kwadwo Kyei’s facial expressions were mesmerizing; he had the best on-stage smolder I’ve seen. Young reporter Janice, played by Jenny Kempe, was a remarkable combination of nervous energy and enthusiasm. Jo Tooley’s portrayal of busy and kind-hearted Beulah shone, while Vicki Bravery’s Bonnie took us on an emotional journey where we laughed, cried and fell in love a with a bonobo chimpanzee named Unga (who we never see). Diana Holt’s Beverley had both strength and vulnerability, and her Bonnie Tyler-esque rendition of “Me and the Sky” was memorable. Rounding out the cast and giving the show heart and soul were Lisa Christensen, Nimar Kaur, Taz Clifford, Issac Burton, Melanie Martin, Miranda Robinson, Karen Rock and Sarah Holcombe. Rock, a Newfoundland native, was no doubt a great source of knowledge for the cast and creatives.

Vocals were strong and punchy, and I particularly enjoyed the tight harmonies and style blending in “Prayer”. Another standout was “Heave Away” and “Screech In”, and the chorus benefited from the strength of backstage vocals by Siobhan Erdis, Morgan Chalmers, Katie Commens, Tara Gillespie, Joel Shannon and Justin Tamblyn.

Out-of-sight behind the set, Director Owen Clarke effortlessly led the band of eight through a score that blends contemporary musical theatre with Irish folk and soft rock. As well as the standard keyboard, drums and bass, the musicians played fiddle, tin whistle, mandolin and bodhran. Personally, I would’ve loved to see some of the musicians on stage having a “scuff” with the cast during “Heave Away” and “Screech In”.

Behind the scenes, Ben Hunt designed effective lighting that complemented the pacing, mood and transition of each scene. A wow moment was the air traffic controller scene, where cool light cast harshly under faces denoted the fear the community felt as the planes start landing. Set designer Francis Story cleverly transformed the stage into an impressively huge multi-purpose space that served as an airport, a school hall, a bus (or three), a plane and a bar. The video projection behind the “windows” was a stroke of genius, and Sound Designer Steve Alexander mastered the many microphone changes during the show. Costume Designer Debra Nairn paid homage to the era’s fashion and ensured there were complimentary colour combinations throughout, with thoughtful attention to each character’s garb. Nairn’s cheekiness shone through during the cardiologist’s “love doctor” scene. Finally, Stage Manager Michaela Francis proved the biggest flex is being so good at your job no one notices what you do. Scene transitions were flawless.

I hope Toowoomba embraces this show not only for its entertainment value, but also its spirit of kindness, inclusion and community. These are qualities we can all do better, together.

Review by Madeleine Tiller

Photographer: Justin Nicholas