Come From Away

Come From Away is a joyous and life-affirming piece of theatre, a timely reminder of generosity and kindness in the world.

It is also a beautifully constructed piece of theatre. The exposition is long, introducing dozens of characters, but it never flags or confuses. Sixteen performers playing several roles each are clearly delineated. Whilst it is true that “You'll probably understand about half of what we say”, the individual quirks add to the charm.

Every person on the planet remembers where they were and what they were doing on September 11^th 2001, a moment in the memory, frozen in time. Similarly, the characters of Come From Away are thrown into focus in a like a rabbit in the headlights, reliving the gut wrenching emotion of the instant when they heard about the Twin Towers terrorist attack. Gareth Kays lighting helps to bring these individuals into relief.

Once established, the story careens along, punctuated by moments of humour (“Screech in”), pathos (“I am here”) and calm (“Stop the world”). This is compelling story telling at its best.

The on-stage musical ensemble is a natural extension of the action. The eight-piece band features accordion, mandolin, fiddle and bodhrán to create the folk idiom of Newfoundland. Musical directors Petr Diviš and Andrew Castles effect a charming symbiosis of timbres and harmonies. The vocals aspire to a natural rather than over produced sound. This is an intelligent choice, although some emotionally charged moments sacrifice vocal tone to affect. Occasionally what might have been a belted (or sotto voce) high note is compromised. The overall sound is excellent with clear diction and lush choral moments.

The set (courtesy of CLOC and adapted by Sally Martin) evokes the timbered terrain of Newfoundland. The “pallet” back wall allows for a variety of lighting effects, on and through it, including the wonderful stained-glass moment of “Prayer” – a paean to unity in diversity. The blue timber floor transitions easily the sky, with chairs delineating airplane or even bus seating. The chairs are a significant aspect of the set which must require thoughtful management. Of mismatched shape and design, these disparate set pieces are kaleidoscopic in varied formations.

The chairs require choreography of their own, but Leiz Moore moves her cast adeptly in and around them. Simple expressive movement gives way to abandoned folk dancing. Allan Jeffrey's direction keeps the storytelling pacey and seamless, an emotional rollercoaster.

The cast is strong both as individuals and an ensemble. Characters come and go in a coherent tapestry. Fiona Barber gives an assured performance as the core presence who is Beulah, portrayed as calm, capable and believably human. Carla di Domenico provides consistent commentary and the broader perspective on events as young reporter, Janice. Di Domenico is excellent as Janice who rises to the occasion, her missteps and insecurities providing humour as well as insight. Petr Divis is wonderful, as ever, as Kevin T. Andrew Hickman gives a solid performance as Claude, the Mayor. Claude is someone on whom to rely, and Hickman gives him with humanity and warmth. Esther Hoggart is notable for several strong comedic moments. John Hoggart and Mandy Lowrie are well matched as Nick and Diane finding consolation in each other in a difficult situation. They deliver a core message about love and connection. Leiz Moore takes the role of Beverly Bass as well as that of co-producer and choreographer. Moore’s capability is evident in every one of her roles. Bianca Paine is versatile and funny as Crystal and others. Emily Paine stands out in the role of SPCA volunteer, Bonnie. David Thomson is her foil, ubiquitous in other roles as well. Mark Wójcik is charming in the role of Oz. Wójcik has matured into a solid and confident performer. Di Richards tugs at the heart strings as Hannah. Will Pridmore, in fine voice, shows range as Kevin J and as the Egyptian chef. Ryan Street is a man of many humorous and dramatic parts. Peter Robinson is a stage newcomer who contributes humour and humanity.

The Show Company has chosen the right vehicle for the moment, the venue and their cast. Come From Away is about a specific moment in time but will never cease to offer something substantial.  It shows human beings at their best, helping each other.

Review by Anne Blythe-Cooper

Photo credit: Jacquie Coad