The question that is asked when something of global significance has happened, usually catastrophic. The terrorist attacks on 11 September 2001 - 9/11 - changed the world forever. It led to three wars - Afghanistan, Iraq, and the so-called 'War on Terror'; ushered in mass surveillance of citizens under the Patriot Act with far-reaching implications beyond the US as Edward Snowden's revelations revealed; dramatically changed air travel protocols; with certain political elements using it to ratchet up anti-Muslim sentiment and the 'othering' of so many innocent people that continues to this day.
It was a Tuesday night in Perth when those planes hit the World Trade Center. They cut into an episode of The West Wing no less to report on the developing story. The images were, and remain, unspeakably shocking.
Imagine if the answer to "Where were you when...?" was sitting in a plane diverted to Canada as the FAA shut down US airspace. Or, a resident of the town of Gander in Newfoundland where that plane and 37 others were incoming with some 7000 passengers. This is the true life premise for Come From Away.
Why this is so compelling is that amongst the swirl of massive geopolitical implications that would define the beginning of a new century, a quintessentially human story is told. A story about compassion and empathy; about fear and uncertainty; about grace under pressure; about finding humour and connection even in the darkest of circumstances. It is in many ways a joyous story which has, by necessity, an underlying sadness. These are ordinary people - from around the world - caught up in an extraordinary moment.
Enough of the preamble as I'm burying the lede. Koorliny won the rights to stage the Western Australian amateur premiere and it's clear they know how special this property is. The attention to detail and execution on opening night is exceptional. I had not seen Come From Away before but knew something memorable was brewing after thunderous applause by a capacity audience greeted the end of opening number Welcome To The Rock.
From there the production moves at a relentless pace. Yes, a fire alarm caused a brief show stop. By then the cast, musicians, and all involved had built up such good will that it didn't dampen the audience's enthusiasm at all. Well done to co-director Katherine Freind for clearly explaining what had happened to put everyone at ease. Then we were off again on a rollercoaster of emotions which culminated in a spontaneous standing ovation at final bows and raucous appreciation of the band as they played us out. I've not seen a surge of genuine affection like that in a long, long time.
Thing is, they deserved it and then some.
Let's start with the band. The band! They played the hell out of the infectious score that had me toe-tapping along happily. Take a bow Musical Director Kate McIntosh (Keyboard) and musicians Ben Clapton (Fiddle), Talitha Broughton (Whistles & Flute), Emily Ranford (Guitar), Christian Ingram (Bass Guitar), Nikki Gray (Drums & Percussion), and Dylan Randall (Ugly Stick). The music informs and enhances so much of the emotion and humour, played with such spirit. I loved that Clapton, Ranford and Randall were onstage during certain numbers adding a sense of community and vitality.
All the production and design elements. The rustic set design (Stephen Carr) that captured the unusual and remote feel of Gander. The lighting design (Kat Brieden) that focussed my attention and highlighted characters and moments with clarity, so important with such a frantic pace. The sound design (Jonathan Hoey) that allowed that score and vocals to shine while letting scenes of high emotion breathe. The choreography by co-director Allen Blachford using diverse configurations of wooden chairs to depict everything from planes to buses to the interior of various town settings. An elaborate dance that was precise and playful when it needed to be. Costume consultant Melissa Kelly not only having to distinguish between locals and 'plane people' but plotting the hand-off of costume elements with the cast playing multiple characters. Prop designer Rebecca Foottit adding quirkiness as well as all the practical elements as the townsfolk realise the scope of what needs to be done. A cohesive team effort that created an awesome space for the cast to perform.
And perform they did. The cast of twelve hit the ground running and don't let up. There is an enthusiasm that is palpable from the opener and a respect for the stories based on real people. Strands and pairings slowly emerge along with featured roles. This is only a snippet of all the characters the cast bring vividly to life - Diane (Gillian Binks) and Nick (Colan Leach) starting a tentative yet sweet relationship; Beulah (Lucy Eyre) and Hannah (Mahali) forming a bond over their firefighter sons; Kevin (Tadhg Lawrence) and Kevin (Bailey Bridgman-Peters) whose relationship is buffeted by different reactions to their predicament. Maree Cole's Bonnie who's concerned with the welfare of the animals that were on those planes; Neil Young as the Mayor powering through to do what must be done; Phoebe Tempra's Janice as the novice reporter overwhelmed by the magnitude of what's happened; Rea Selepe's Bob who is initially more worried about being in 'redneck' territory; and Jason Nettle as Oz, a police constable on the island. Shannon Payette Seip is the trailblazing airline pilot Beverley Bass. They are all excellent - acting-wise and vocally while working seamlessly together as a company.
Highlights are everywhere from the opening number to Mahali's superb rendition of I Am Here to Prayer led by Lawrence; Payette Seip's Me and the Sky; Young leading us into Screech In and so on.
Directors Katherine Freind and Allen Blachford have crafted a marvellous production in all facets. It's the best community theatre musical I've seen since 2015's A Man of No Importance. A must see.
Come From Away is on at the Koorliny Arts Centre in Kwinana until 30 November.
Cast pictures by Outatime Pictures
seeing it next week, can't wait!
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