At the majestic National Theatre in Melbourne, I sit enthralled. In awe, almost. Chirping and trilling sounds fly above my head. It is the birdlife in the town of Gander, in the Northeastern province of Newfoundland, pulling me in.
The stage, beautifully designed by Sally Martin, and scenic lighting, by Jason Lord, sweep me into a forest world that speaks of enlightenment. Entangling me in a lush world of black spruce trees. Ones that stand tall across the far edges of the stage with lights attached. With signs above spruiking iconic favourites such as Milton and Blue Star beers.
This stage? Is set at ‘the Legion’, a favourite haunt of the Canadian Gander folk. Where a myriad of rustic chairs and tables sit on a revolving timber stage. At the back are boarded-up softwood blocks, finishing off the look of a natural environment, coming alive.
Hidden between the trees, on the right and left of the stage, the show’s band members are seated and raring to go. Tuning their instruments and getting comfortable – for a ride like no other.
For what I am witnessing is the return of CLOC Musical Theatre’s 2024 hit production Come From Away. A show not only inspiring audiences with messages of hope, compassion and community, but one paying tribute to the 25th anniversary of the September 9/11 attacks. It’s a show from CLOC’s past so moving and so highly successful that it warrants a return.
Historically, Come From Away, written by the husband-and-wife team of Irene Sankoff and David Hein, premiered on Broadway in 2017. It went on to win a Tony Award for Best Direction of a Musical. The Australian premiere landed on our shores in 2019 to great acclaim. Launched in Melbourne at the refurbished Comedy Theatre, it then toured successfully around Australia.
The story is told like a sudden jolt of turbulence. When, on September 11th, 2001, 38 planes were diverted in the air, to instead land at Gander International Airport, a military airport used as a refuelling centre for transatlantic flights.
It was where, as part of the Canadian Government’s ‘Operation Yellow Ribbon’ Program, the locals managed to take 7000 lost and frightened passengers off these planes and take them under their wings. They provided them much-needed food, shelter, and medical care. They literally acted as angels on earth in the week following the 9/11 attacks.
But the show’s uniqueness lies not so much in the story itself, but in the way it is told. How, via the flawless direction of both Rob Robson and Tailem Tynan respectively, we not only witness the perspectives of the desperate passengers in need of physical care, but also that of the heart-centred townsfolk. They are played in duality by a cast of a dozen actors.
Speaking of which, the twelve actors onstage last night served this show’s production greatly. Under the sharp and tidy musical direction of Malcom Huddle and his incredible team of musicians, the cast all sing with the utmost theatricalisation and precision.
They are well supported by sound designer Marcelo Lo Ricco with crisp, rich and resonant reverberation, and quick-changes are all masterfully executed with the help of costume designer Samantha Gore and Wig and Makeup designer David Clausen-Wisken.
In fact, it’s as if the whole cast have landed back into their roles as seamlessly as they did two years previously.
In Welcome To The Rock, I am immediately enchanted by the Mayor, played by Ric Burkett, who commands the stage with a healthy, brogue-ish confidence, akin to that of a proud islander.
Burkett has great projection, quick-witted charm, and just the right kind of legendary strength needed to gather his community together with pride and sensitivity.
He also manages to bring a tear to my eye at the end, before the song Something’s Missing, when he breaks down and says, ‘I hadn’t let myself cry the whole time’. He is expressing the latent trauma he clearly suffered at this time.
Rosa McCarty, as Beverley Bass, brings a fresh ‘rock chick’ empowerment to her role as the first-ever female captain of an American Airlines commercial plane in the United States.
Her signature song, Me And The Sky, carries through the theatre like a bolt of lightning. It tells the story of how she rose through the ranks of a predominantly male-centred industry – to become a woman-of-her-word to commit herself to the safety and care of her passengers.
I was equally impressed by her dual role as the coquettish islander, Annette, who quickly engages in some truly hilarious imaginary scenarios to lighten up the mood of the show. Conjuring up encounters with a team of manpower-style cardiologists, a Spanish Professor, and an aircraft crew member.
I also really enjoy the romance between Nick the Englishman, played by Richard Perdriau, and Diane, a Texan, played by Jacqui McCallum. Perdriau nails the English accent and plays the prim and proper demeanour of a stuffy Englishman to a T.
McCallum also takes to her role so effortlessly, playing a laid-back Southerner with a fun side, although fearful of getting hurt again. In all, these two gave me a now-or-never perspective of gratitude; of enjoying life and receiving its blessings, even through dark circumstances.
Accolades of a divine nature especially go to Shane Pritchard, playing the dual roles of Kevin and Ali. Pritchard masters the fine art of playing an Egyptian character who faces prejudice based on his ethnicity.
His quick changes are an artistry all their own, and his roles are so transformational that at times, I forget that he is playing two distinct personas.
In all, Come From Away is not just a story of the tragedies that befell innocent human beings on that day in history. It is a story about the goodness of humanity, of well-meaning townsfolk who, like angels, put aside their lives for others. Just because.
Out of the goodness of their hearts, the people of Gander chose to make their unexpected guests feel safe and cared for at an unimaginable time. But most of all, Come From Away is about the deeply human actions and connections in Gander that threaded a beautiful tapestry of memories for both parties, forevermore.
Teaching us truly what it means to be human.
Come From Away is presented by CLOC Musical Theatre. It runs to 24 October at the National Theatre Melbourne. 20 Carlisle Street St Kilda Vic 3182.
Tickets are available here.
