Come From Away – Phoenix Theatre

Come From Away continues at the Phoenix Theatre, London.

Star rating: five stars ★ ★ ★ ★ ★

You can tell, simply by observing the pre-set simplicity of Come From Away that this is a story not about spectacle or glittering chorus lines. There are towering tree trunks flanking the stage and the cyclorama has the appearance of rough-hewn planking. Dotted about the stage are a few straight-back wooden chairs and the orchestra slip into position in full sight, behind the trees. This deceptive simplicity masques what is arguably the perfect folk musical, focusing on a relatively small group of characters to tell a much, much bigger story.

For those not aware, Come From Away tells of how the townsfolk of Gander in Newfoundland played host to thousands of unexpected guests on that fateful day of 11 September attacks in 2001. With US airspace closed, 38 planes filled with nearly 7,000 passengers were forced to divert, landing in what used to be one of the busiest airports in the Western world. Come From Away is an ensemble musical exploring how Gander welcomed the stranded travellers and the relationships that developed amid the uncertainty and fear.

Originally opening on Broadway in 2017 (and officially still running), the show proved a critical and commercial success. The UK production opened two years later, winning a slew of awards but closing with the rest of the West End due to the Covid-19 pandemic. Four hundred and ninety-five days after the last performance Come From Away has burst back in to life and what a welcome return it is. On press night, the opening number was almost drowned out by a rapturous standing ovation and out-pouring of such emotion that it took a few moments to calm down. Establishing a gentle authority, James Doherty led the company into the rousing ‘Welcome to the Rock’, which concluded with an even bigger cheer.

Watching Come From Away is undoubtedly an emotional rollercoaster anyway, without the added pressure of this second ‘opening night’. Irene Sankoff and David Hein’s book barely takes a breath as it captures the events of those fateful few days. The sheer physical impact of 38 airplanes landing, the smell of the fuel and the pressure on the runway are traumatic enough. The authors skilfully juxtapose this with the gentle pragmatism of the people of Gander, pulling together to provide clothing, meals, bedding and succour. A Leviathan task that they meet with open minds and open hearts.

Yet what is surprising about Come From Away, is how much you find yourself laughing. There’s heartfelt drama of course, with new cast member Gemma Knight Jones as Hannah, fearful of the fate of her fire-fighter son in New York, whom she is unable to contact.

Alice Fearn too, as pilot Beverley Bass lays bare her new-found fears in the showstopping number ‘Me and the Sky’.  These are cracking, emotive storylines and songs but it’s how the authors relieve the tension that stays with us.

Another new cast member, Sam Oladeinde as Bob, humorously highlights the differences between suspicious New Yorkers and the friendly townspeople of Gander. The burgeoning relationship between Texan Diane and British Nick adds another sweet layer of fun and everything comes to a head in the rip-roaring ‘Heave Away/Screech In’ as the ‘plane people’ are initiated as honorary Newfoundlanders at the local bar.

This is a musical that celebrates new friendships and champions the idea of community, as much as it respects and honours those who have died. It’s a sentiment borne out through Sankoff and Hein’s perfect storytelling and an ensemble cast and band who bring the show together each night. It has lost none of its power following this extended hiatus. Taking to the stage on press night, producers Joseph Smith and John Brant re-affirmed the show’s message, stating that from now on, the show will be performed in honour of all those who have been taken too soon.

Paul Vale