Come From Away has had a remarkable and totally worthy success, receiving plaudits aplenty and packed audiences and standing ovations everywhere it goes. Therefore, as it arrives at Milton Keynes Theatre towards the end of its first UK tour, what more is there to say about it?
First of all, before I begin, if you are planning on seeing
Come From Away (you should) and for some fortune, you are yet to discover what it is about, I advise you to read no more, from anywhere, about the show before seeing it. Be one of those I consider lucky and find the story within the show blind. Back in August 2019, when I first witnessed
Come From Away, I genuinely knew nothing about the story, and trust me, it made a remarkable difference in the show's impact, which you will remember forever.
So, for all of you still here who know the story, you will be aware that Irene Sankoff and David Hein's musical tells the story of Newfoundland residents and their true story of the time 38 planes were required to land in Gander, Newfoundland, following the events of 9/11. First performed in the US in 2015, it has had a remarkable rise to success with long runs on Broadway, in Canada and at the Phoenix Theatre in London before this UK tour began in March 2024. Throw in a few awards, including the Olivier for Best Musical in 2019, and you are well prepared for something good.
Despite countless accolades suggesting so, you don't quite realise how exceptional this is until you see for yourself. This is as close to a perfect piece of musical theatre as you could imagine. Primarily folk-based, the music is remarkable for a start, with no song fillers, no songs lacking in progressing the story, and all perfectly judged and positioned.
Opening with
Welcome to the Rock, the song brings the audience and story alive, and
38 Planes brings the story's reality. Later,
Screech In creates sheer joy and then switches to the beautifully emotional
Me and the Sky. Trust me, the songlist in
Come From Away is genuinely one of the very best.
The performances of this touring show are also superb. A highly talented cast of twelve brings dozens of characters to the stage, portraying them with remarkable clarity so that you are never unsure who you are watching. Within the numerous characters, a few are obviously crucial.
Sara Poyzer's Beverly, a grounded female air pilot, is a powerful, beautifully written, and performed character, full of authority and controlled emotion. Her number Me and the Sky is one of the few predominantly solo numbers in the show, and it is one of the best. Nicholas Pound is the fabulous Mayor Claude, full of energy and dry humour, but also briefly has a lovely moment as a man of faith, finally having the courage to tell his story.
Mark Dugdale and Kevin Yates (on as standby for the performance) are great as the two Kevin's dealing with a fragile relationship under the trying conditions. This is delightfully played off by the writers against a potentially blossoming one between British Nick, played by Daniel Crowder, and American Diane, played by Kirsty Hoiles. They are excellent together, and Crowder especially manages to make Nick far more genuine rather than the caricatured Hugh Grant-like character he is written as, making the relationship feel more real than playing for the easy laughs. Elsewhere, Amanda Henderson impresses as Bonnie, desperate to look after the many animals the planes bring to Gander.
However, in true ensemble tradition, the entire cast is superb. They work together stunningly as one, mirroring how the people of Gander were, to create one of the most fluid shows you could witness (ironically, on the night, only stalled by an issue with the physical set). This is also down to Christopher Ashley's perfection of direction, which keeps the show moving constantly.
Come From Away remains one of the top five shows I have ever seen and should be witnessed at some point by anyone who considers themselves a theatre fan. Very little, if anything, betters Come From Away for the complete theatre package, be it storytelling, music, or emotional impact. The standing ovations at the curtain call tell everything, and as no one leaves during the tremendous band's final curtain call, everyone knows they are witnessing something very special.
A stunning tribute to a remarkable, uplifting true story. Theatre at its very best.
⭐⭐⭐⭐⭐
Performance reviewed: Tuesday, 26th November 2024, at the Milton Keynes Theatre.
Production photos: Craig Sugden
