Tag Archives: Irene Sankoff

“Come From Away” at the Phoenix Theatre

Irene Sankoff and David Hein’s heart-warming musical is a true tonic that’s guaranteed to raise spirits. It’s feelgood, for sure, but grown-up, too. Based on the true story of air passengers stranded in Newfoundland because of the 9/11 attacks on America, there are hard-hitting moments. But the folk of Gander, who looked after the ‘plane people’ forced to stay with them, show the very best of human nature.

Sankoff and Hein depict a cross-section of travellers and the local community that could be dizzying. Christopher Ashley’s direction is essential for clarity. The point is to show us the gamut of emotions and circumstances, to give us glimpses of lives before, during and after the crisis. With the cast performing multiple roles, several characters manage to stand out to great effect.

The music, inspired by Newfoundland’s Celtic heritage, is rousing, raucous and dramatic, managing to provide a real sense of place. And you will be humming the tunes the next day. If some lyrics are repetitious, they are always efficient. Even humour is crammed in. The key lies in using all members of the cast: their work as a chorus mirrors their characters’ parts in a close-knit community.

Fun comes from the eccentricities of the locals, established quickly and successfully. It could be an odd contrast with the trauma of those coming off the planes, but fear and anger are dealt with sympathetically. And it’s notable that metropolitan prejudices about small places are called into question aplenty. The joy of Come From Away is that it deals with a cliché – of ordinary people doing extraordinary things – so very well.

There is nothing ordinary about the dozen cast members who take on the responsibility of telling the story. They flit around roles with remarkable skill, and also manage to focus on key story lines that take turns to touch hearts, heads and funny bones.

The character of Hannah, worried for her firefighting son back in New York, is sure to stand out, but Gemma Knight Jones, who takes the part, is outstanding. Jonathan Andrew Hume and Mark Dugdale’s storyline as a gay couple does a lot of work to question assumptions and the performers are excellent. Another romance, between Kate Graham’s Diane and Alasdair Harvey’s Nick, is sweet. All the while, James Doherty’s mayor marshals the action. That’s only half the cast, so forgive me. The real achievement is the work of everyone on stage as an ensemble – moving together and sounding fantastic – bringing both energy and sensitivity to a great story.

www.comefromawaylondon.co.uk

Photo by Craig Sugden

“Come from Away” at the Phoenix Theatre

Good news stories are few and far between, so any positive coverage from the tragedy of the terrorist attacks on 9/11 is all the more precious. Recounting the generosity of the people of Gander in Newfoundland to those stranded when flights were diverted on that dreadful day becomes a testament to the better part of human nature – making this musical from Irene Sankoff and David Hein truly inspiring.

One of many winning elements here is the strong sense of place created for the island called ‘The Rock’ that the audience, like the stranded passengers, find themselves visiting. Careful research and the Celtic-inspired music, performed superbly, make the location convincing without even a set. Firmly rooted in the chaos of events and ensuing emotions, the score perfectly reflects the drama and diverse reactions to it.

Depicting residents and visitors are a cast of just 12, although it’s hard to believe at times. Transformations are achieved with simple costumes and brilliant acting. Come from Away is a true ensemble piece – another big tick – very much to the credit of director Christopher Ashley, whose attention to detail is clear at every moment. The story is led, slightly, by Clive Carter, who plays the town’s mayor with affable energy, and Rachel Tucker, who plays a pilot and gets the most rousing solo, delivered with incredible passion. Among the many stories, two couples anchor the show with relationships beginning and ending, making meaty roles for Jonathan Andrew Hume, David Shannon, Robert Hands and Helen Hobson.

Rachel Tucker

If Sankoff and Hein’s lyrics are at times prosaic, and the humour a little broad, the book is outstanding. Injecting tension into a story that’s literally about people stuck somewhere is a remarkable achievement. The sheer range of issues tackled in the show is prodigious, coming as close as possible to do doing justice to the big events of that day, while never losing focus on a small world full of intimate stories. Realism is the key, and the show never shies away from less than noble fears and prejudices – there’s more than one confrontational moment in the chaos and confusion of events. Racism and religion are deftly handled, and a number unifying the different faiths among the passengers is a real triumph.

Life-changing repercussions from the terrorist acts, and the extended stay while air space remained closed, are explored in depth. But it is a question of balance that makes the show special. Of course you expect an episode of painful grief. This comes with the case of a mother who has lost her son (a role Cat Simmons excels in), where the candid and respectful handling of the story is impressive. But there’s also the figure of a young man who finds himself more at home away from home. Nathanael Campbell holds his own in this far less dramatic role, and its intriguing inclusion shows the scope of the impact of events with quiet intelligence. Focusing on ordinary stories and regular people is the key, and it’s all perfectly pitched to emphasise each story’s power and importance.

Until September 2019

www.comefromawaylondon.co.uk

Photos by Matthew Murphy