Theatre review: Come From Away captures the humanity at the heart of hit musical
Elevated visual design and a strong, multitasking cast bring ample Newfoundland warmth to new Arts Club Theatre Company and Citadel Theatre coproduction
Come From Away. Photo by Moonrider Productions for Arts Club Theatre Company
The Arts Club Theatre Company and Citadel Theatre present Come From Away to August 16 at the Stanley BFL CANADA Stage
IN COME FROM Away—the poignant musical retelling of how the people of small town Gander, Newfoundland, opened their arms to 7,000 diverted airline passengers on September 11, 2001—the cast sings, “Welcome to the Rock if you come from away.” But travelling to “the Rock” need not go any farther than the Stanley BFL CANADA Stage, where Arts Club Theatre Company and Citadel Theatre’s coproduction glows with heartfelt emotion and maritime pride. This production offers a fresh take on the beloved Broadway hit while staying true to its spirit.
Come From Away is known for telling a large-scale story with a relatively small ensemble, minimal costumes, and a simple set. The characters span Gander locals, “Come From Aways” or “Plane People”, airline staff, and media. Under the direction of Ashlie Corcoran, and featuring an all-Canadian cast, the storytelling here feels vivid and alive. Each actor seamlessly shifts between multiple roles on an almost bare stage that doesn’t feel empty at all, highlighting the ingenuity of the piece.
With the removal of her blazer and hat, Jocelyn Gauthier moves effortlessly between Beverley, the trailblazing pilot, and Annette, a cheerful schoolteacher. Kamyar Pazandeh transitions from the comedic Kevin J to Ali, an Egyptian traveller whose story carries a much darker weight. Lisa Michelle and Tenaj Williams portray a frightened African couple, while Michelle also brings depth to Hannah, a mother searching for news of her firefighter son. Meanwhile, Williams also plays Bob, whose early fears of the Gander locals stealing his wallet (a ridiculous thought!) adds welcome humour.
In one moment, the cast members are airline call-centre agents fielding frantic calls; then with a simple shift of chairs, they become passengers aboard Beverley’s plane as it makes an emergency landing. These transitions are handled with precision and clarity under Corcoran’s direction.
One element that distinguishes this production is its elevated visual design. Set designer Lorenzo Savioni and lighting designer Sophie Tang introduce creative elements that enhance the storytelling without overwhelming it. Savioni’s set features tall rectangular panels that flip to reveal shifting backdrops, from the greenery of Gander to the warmth of a local pub. Tang’s lighting adds atmosphere and intensity, from the ominous glow of descending lights as passengers are transported into the unknown to the vibrant bursts that add excitement to Beverley’s “Me and the Sky”. Throughout the show, radiant beams of light are strewn across the set, building wonder but never pulling focus from the story.
Irene Sankoff and David Hein’s score (the duo also wrote the book), soars musically and emotionally under the musical direction of Ken Cormier. The strong cast and band bring numbers such as “Welcome to the Rock” to life with energy and urgency, while Gauthier’s “Me and the Sky” builds with stirring impact.
Come From Away. Photo by Moonrider Productions for Arts Club Theatre Company
With the story set in Gander, the show wouldn’t be complete without capturing the spirit of the people of Newfoundland, and “Screech In”, which sees the “Plane People” and locals jamming together in a pub, is a charming highlight. Thanks to choreographer Gianna Vacirca, we’re treated to fun, high-spirited, East Coast–flavoured choreography. Add impressive dance skills to the talents of a cast that already has strong acting and singing chops. And the multitalented Caitriona Murphy, who plays caring SPCA worker Bonnie, takes things even further by adding expert fiddle playing.
On the dance floor and elsewhere, Charlie Gallant is a standout as he switches through a multitude of characters, some with knockout dance moves, including gym teacher Oz and the leader of a dashing group of cardiologists who send Beulah and Annette’s hearts racing in more ways than one.
Genuine relationships are at the heart of this production, with romantic interests Diane (Janet Gigliotti) and Nick (Garett Ross)’s duet “Stop the World” adding deeper meaning to a fleeting moment. Michelle’s Hannah and Stephanie Wolfe’s Beulah form a touching friendship, and Williams’s Bob and Andrew Wheeler’s small-town mayor develop an unexpected bond that’s boosted by Irish whiskey.
Elsewhere, Gauthier’s Beverley inspires female empowerment, and Pazandeh’s Ali reminds us of the surge of racism experienced in the aftermath of 9/11. This production's real success is in how it captures the humanity at the heart of Come From Away. It honours the real people whose lives intersected in extraordinary circumstances and reminds us of the kindness and compassion that can emerge in even the darkest of times.
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