Irene Sankoff and David Hein’s groundbreaking musical intricately weaves the stories of those personally affected by the tragedy of 9/11 when one of the diverted planes is rerouted to Gander, a small town in Newfoundland.
Under Andrew Corcoran’s direction, music controls the mood, a constant percussion under spoken dialogue upping the pressure of the situation, building the intensity until a quick witted line breaks the tension. Expect goosebumps from the overlaying harmonies building up and infectious traditional folk motifs from guitars, fiddles and more to keep your foot tapping.
The band is on stage, but mostly out of sight, hidden behind trees until they’re brought out to participate in the lively “Screech In”.
Among the multitude of moving stories, Sara Poyzer stands out with her rendition of “Me and the Sky”, soaring through this emotionally turbulent number claiming she’s fine even as she relays how the thing she loves most in the world is used as a bomb. Bree Smith is also especially touching as Hannah, a mother incredibly worried about her firefighter son, her voice cracking with emotion.
The Gander crew are truly heartwarming, Mayor Claude (Nicholas Pound) kicks the town into action, Beulah (Amanda Henderson) rounds up the town resources to accommodate the influx of refugees in the school, Bonnie (Rosie Glossop) refuses to let the animals on board be forgotten. Even the most cynical character relents his scepticism when neighbours let him pinch their BBQs for a mass cookout.
Some may posit this act of kindness is a Canadian quirk, like Tim Hortons, but I like to think it’s an act of humanity. The show certainly revives that faith amidst such tragedy.
Each cast member in the 11-strong group steps seamlessly between the limelight and ensemble, most playing multiple roles like Jamal Zulfiqar who switches between camp Kevin J and Middle Eastern Ali, not shying away from exploring the horrific implications of the scrutiny and hostility he now faces.
Beowulf Boritt’s set is incredibly natural, by which I mean everything is wood, from the panelled backdrop and trees on stage to wooden chairs and tables that act as the few props, perhaps to distance the area further from man-made New York. Christopher Ashley’s skilled direction transforms the stage in the blink of an eye, taking you from Tim Hortons to air control and back with only these chairs, and Howell Binkley’s excellent lighting transitions.
This incarnation of the show is slowed down a tad from its London run, making a run time of 1 hour 40, which only serves to make some of the overly rapid-fire dialogue more comprehensible. This production is filled with heart and is utterly captivating with a soundtrack you’ll find yourself listening to on repeat.
The show is all sold out at The Curve, but don’t miss it on the rest of its first UK tour, more information is available here: https://comefromawaylondon.co.uk/tour-dates/
*****
Katie Reviews 