Come From Away – Milton Keynes Theatre

Book, Music and Lyrics: Irene Sankoff and David Hein

Director: Christopher Ashley

Come From Away is an extraordinary musical phenomenon that captivates audiences with a heartfelt story, brought to life through a brilliant book, music, and lyrics by Irene Sankoff and David Hein. This show is nothing short of pure magic, inviting you into its world with an unmistakable ‘if you know, you know’ sentiment that resonates deeply.

Set against the backdrop of the fateful morning of September 11, we meet the warm-hearted townspeople of Gander, Newfoundland, who are living their everyday lives when the unimaginable happens.

In the wake of horrific terrorist attacks in the U.S., airspace is closed, and 38 planes carrying 7,000 people are diverted to their small town. The locals spring into action in a beautiful display of humanity and kindness, ensuring that these bewildered passengers are fed, sheltered, and cared for. Amidst the chaos and uncertainty, we witness astonishing acts of selflessness as the people of Gander embrace these frightened strangers as if they were family. In this remarkable space, friendships flourish, love ignites, and even the rare chimpanzees are fed!

The show features a talented ensemble cast of twelve actors who seamlessly transform into multiple characters, embodying both the welcoming locals and the international passengers. Every cast member radiates talent and charisma, effortlessly transitioning between characters with just a hat or jacket as a prop. This sensational ensemble performance beautifully exemplifies the power of collaboration and as such this is very much a community story. The entire cast remains on stage for the majority of the performance, creating a vibrant tapestry of interconnected stories and experiences. Christopher Ashley’s tight direction sees the actors flock and blend throughout every scene, taking the audience on a rollercoaster of emotions from the fear and isolation of being stranded on the plane, to small-town politics to quaint Newfoundland traditions like kissing a fish.

The storytelling is so compelling that there is never any doubt about who they are embodying. Sara Poyzer’s stunning rendition of Me And The Sky is a standout moment. Her voice is absolutely enchanting, and as she reaches that breathtaking final key change, you can hear a pin drop in the auditorium, capturing the audience in a spellbinding silence. There are no bells and whistles, no flashy light design, just Poyzer sat in a simple spotlight etching a story into the audience’s collective memory.

Beowulf Borritt’s stripped-back set design is both simple and profoundly effective. It features only wooden decking, trees, and chairs. This minimalist approach encapsulates the theme of make-do and mend, which is embroidered throughout the piece. The stage effortlessly transforms into a plane, a bus, a bar, or the local town hall.

Ashley’s masterful direction, weaves a visceral theatrical tapestry that is nothing short of intoxicating. One of the most enchanting aspects of this show is its originality.

With such a strong ensemble piece, its difficult to pick out a standout performer as each is absolutely reliant on the other. It is prudent then to focus on Sankoff and Hein’s dynamic folksy score. The live band, which effortlessly marries modern and traditional Irish instrumentation, reflects the deep-rooted Irish heritage of Gander. This folk instrumentation is not just an accompaniment; it’s a driving force that enhances the emotional landscape of the musical, complementing over twenty unforgettable songs. The simplicity of the music mirrors the resourcefulness of the community, echoing the theme of coming together and making the most of what you have.

The exposed band is very much a part of the action, and whilst they have no dialogue, they propel the action with great charisma. Never more than in Screech In where they recreate an Irish pub atmosphere, dancing with the hand drums and fiddles as the visitors are encouraged to drink ‘screech’ and become an honourary Newfoundlander.

While Come From Away resonates with themes of unity and camaraderie, it also thoughtfully acknowledges the collective trauma experienced during this turbulent time. The show strikes a delicate balance — reminding us that even in an atmosphere filled with goodwill, the emotional scars and struggles of the displaced individuals remain ever-present.

People may have experienced kindness, but their journeys didn’t simply end there; the aftermath carried its own complexities, and the world changed in profound ways. In essence, Come From Away is an uplifting exploration of our shared humanity. It invites us to reflect on resilience, empathy, and the powerful connections that can sprout from the most unexpected circumstances. This musical is more than a story; it’s a poignant reminder of the strength of community and the enduring bonds that exist when we come together.

Come From Away is a powerful piece of physical folk theatre that is not to be missed. Catch it before it flies out of town.

Runs until 30 November 2024 and on tour