Theatre / Reviews
Review: Come From Away, Bristol Hippodrome – ‘A vivid and wholesome piece, with strong performances’
After Hamilton’s long stint at the Bristol Hippodrome, Come From Away sails into town to
tell a different story about America; one hundred and fifty years into its life as a nation, the
events of 9/11 would permanently change its relationship with the rest of the world.
But Come From Away does not deal with that day in New York, but rather the community in
Gander, Newfoundland, who suddenly had to support the passengers of thirty-eight planes
when US airspace was closed and they were redirected to the town.
We follow the townspeople and the displaced travellers as the former scramble to accommodate them and the latter try to grasp what has happened and where they are, with no clarity on when they might be able to leave.
We are introduced to a range of characters, all convincingly drawn – pilot captain Beverley Bass, the town’s mayor, two Kevins (a couple), and Diane and Nick, a divorcee from Texas
and a businessman from England, among others.
The opening songs reflect the uncertainty and confusion – and horror – of the passengers, as the town’s residents kick into gear to help, despite being flooded with many more people (and animals) than the town is used to housing.
is needed now More than ever
After the opener ‘Welcome to the Rock,’ the songs blend into each other as little, as the
dialogue in between is relatively brief, although they have a distinctive Irish folk sound.
After Hamilton’s long stint at the Bristol Hippodrome, Come From Away sails into town to tell a different story about America
Writers Irene Sankoff and David Hein have taken somewhat of a risk with the book;
characters narrate their feelings and the action around them throughout to the audience, which
makes it feel occasionally like a verbatim theatre piece and reflects the work they did in
speaking to the real-life locals of Gander when writing the musical.
In any case, the characterisation is good enough that it feels confessional and charming despite being a little stilted, and it helps to create the sense of chaos and conflicting emotions and experiences in the days after the tragedy.
The show does not have an interval, and as it continues, the action and songs intensify
Having been fortunate enough to recently see A Chorus Line in London, it was interesting to
see another show in which everyone in the ensemble plays a significant part, particularly one
where the performers are playing multiple roles as townspeople and passengers – often
walking offstage as one character and returning convincingly as another within the same
minute, with minimal costume changes to differentiate them.
I found Diane and Nick’s gentle romance and the struggles of animal shelter manager Bonnie endearing and wholesome, but the show also has time for the less photogenic difficulties of the ethnic minority characters in the aftermath of the attacks, as Muslims across America – and internationally – suddenly found themselves subject to unfair scrutiny.
Jamal Zulfiquar is excellent as Ali, and doubles up effortlessly as one half of the Kevin(s). The staging is minimal but effective, although the actors – much like in Hamilton – do have to spend a lot of time moving chairs around. But the screen at the back changes from wood panels to intense neon strips as needed, and the band are almost onstage in the wings too, both of which creates a sense of intimacy.
“It’s a vivid and wholesome piece, with strong performances all round and excellent musicians”
There are also moments of humour, such as when the baffled busloads of passengers wait in prolonged silence for a moose to cross the road, and when a team of sexy cardiologists on the way to a conference volunteer to clean the toilets when no one else will.
The show does not have an interval, and as it continues, the action and songs intensify.
Particular highlights are ‘In the Bar/Heave Away,’ as the passengers blow off some steam and
try the local Jamaican rum, which allows members of the band to come onstage and show off their skills, and ‘Me and the Sky,’ sung by captain Bess (Sara Poyzer) about her journey as a
female pilot.
The premise means that the travellers’ time in Gander is limited, given that planes will eventually be allowed to fly again, and there are some nice visual callbacks to their more panicked journey at the start of the show.
While it could have ended with the announcement of their departure, it takes the time to give insight into the characters’ relationships and growth from their time in the town and how the hospitality they received helped them.
Despite covering a lot of ground with so many characters, it’s a vivid and wholesome piece, with strong performances all round and excellent musicians. The audience
were engaged throughout, laughing and applauding, and leapt up for a standing ovation – and
a dance – at the end.
Come From Away is on at the Bristol Hippodrome until August 31. For tickets, visit Come From Away Tickets | Bristol Hippodrome in Bristol | ATG Tickets
All photos: Craig Sugden
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