11 July 2024 I 19:45 I Lyceum Theatre, Sheffield
⭐⭐⭐⭐⭐
Come From Away, the hit Broadway sensation, continues to enthral UK audiences as a part of its national tour. As my third watch of the musical, my utmost concern had been how the show would translate away from the West End stage. However, the international messages of coming together resonate through reaching a multitude of new audiences. There are endless reasons as to why the Sankoff and Hein musical succeeds, but the heart solidifies the production, the way in which audiences can come together just as the performers do.
Come From Away details the true stories of the 38 diverted planes in Gander, Newfoundland, to safety following the terror attacks on September 11th 2001. Amassing approximately 7,000 passengers, we are invited into a subtly dramatized version of events, where musical numbers aren't overly melodramatic, rather fusing with text to heighten empathy in a documentary account.
A run time of 100 minutes is shorter than an average mainstream musical, though I feel this is testament to this turbulent period of history, that vanishes as soon as it appears. Being born a few years after 2001, it is so important for younger people such as myself to have this education on how these terror attacks devasted so many families and lives. But where I could not possibly imagine this fear, Come From Away manifests a world beyond anyone's imagination, perhaps the greatest of humanitarian tales, the doubled population of Gander thriving despite the loss.
We see multiple worlds captured through a cast of 12, notably between the heroes on the frontline of Gander's citizens and a selection of passengers. Toni-Leslie James' costume design is really well considered, morphing into different characters simply yet seamlessly, where hundreds of divided cultures form one hybrid community. Contrasting people, instead of separated, coexist in harmony. This impeccable transition level is seen through Beowulf Boritt's set, making use of chairs and tables where entire settings can change in an instant. Echoing my statement on the run-time, Boritt's minimalised scenic design enacts this level of displacement, that nothing is permanently fixed in the space.
Starring as Beverley, this evening sees Ashleigh Harvey take on the role with tremendous conviction, a vocal calibre that stands to impress through Me And The Sky, to name a standout moment. Harvey commands the role quite uniquely compared to previous actresses, but I adore the present vulnerability she is able to showcase. Lyrically, she enunciates with precision, where Beverley's success to become American Airlines' first female captain is inspirational for all audiences. A way to honour her resilience and bravery across the world.
The level of passion demonstrated is supported by such a remarkable onstage band, led by Andrew Corcoran. These wonderfully talented musicians join the performers in the stage space, and really enhance the community impact of the show, the essence of celebrating all involved to reflect the cruciality of every single individual.
Through the characters of Kevin T. and Kevin J. (and others), Alyn Hawke and Jamal Zulfiqar's relationship is really well observed in presenting how a frightening situation can render love exposed. The pair really shine through Prayer, where religion becomes a common ground for passengers, a way for multi-lingual cultures to communicate. And although Islamophobia is briefly touched upon to encapsulate timely anxieties, it is handled with care whereby difference is forgiving and celebrated.
Directed by the visionary Christopher Ashley, the unbelievable history of Gander's doubled population (as a result of catastrophe) leads itself to one of the most beautifully compassionate periods of our lifetimes. Whether you are returnee, or a come from away of your own, audiences will always be welcomed to not just a spectacular show, but to a project of hope, resilience and tenderness.
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