Come From Away - Koorliny Arts Centre (15 November 2024)

Where were you when...? 

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 

Hands On A Hardbody - Wanneroo Repertory (27 June 2024)

What would you be willing to endure to win a chance to change your life? A question that has enormous relevance amidst a cost of living crisis with seemingly no end in sight. It's the premise for this unusual and deceptively simple musical: ten contestants in an east Texan town compete to win a hardbody pickup truck. The catch? You must keep a hand on the truck at all times (no leaning mind you!) except for periodic breaks. In the searing Texan heat. Day and night. For as long as it takes to be the last person standing. 

That basic narrative allows for a surprisingly rich character study with a lot on its mind thematically. These are people on the margins of society who are forced into desperate acts by crippling economic circumstances. They want a better life for themselves, their loved ones, and for those left behind due to discrimination, racism, war and the inequities of the capitalist system. The story has a specific American hue but it's not difficult to imagine the Australian equivalents gathered around a Ute in a large country town. 

There is a ring of authenticity about the contestants who vary in age, background, and lived experiences. It comes as no surprise then that the musical is an adaptation of a documentary about the real life annual contest. But it's not just the competitors who vie for the chance to win the truck and either sell it to fund their dreams or use it to travel to better destinations; the people running the contest, the truck dealership, fall prey to similar economic realities as they cynically use the publicity to try and drive up sales. The smell of desperation lingers over the whole endeavour.  

Like any good tale about ordinary people pushed into extraordinary circumstances, there is also great humour and camaraderie here amongst the inevitable conflict. It may only be a truck but the stakes are high because we understand the characters' motivations and empathise with them. 

There are times this felt more like a play with songs as there are long stretches of dialogue scenes. However, the songs, when they come, are easy on the ear with an unmistakable country rock, guitar driven sound and adroit lyrics. They are well played by a nine-piece orchestra in the pit under Musical Director Shaun Davis and, on the whole, well sung though there are some weaker voices amongst the standouts. There were some sound balance and mic pickup issues on opening night but they will be quickly rectified.  

Directors David Nelson & Jane Anderson smartly tackle the obvious constraint of having the majority of their cast anchored to a pickup truck - if they can't move then the truck must! What a marvellously designed and constructed truck it is by Set Designer & Builder Mal Anderson. The truck not only looks great but has some practical features including being able to be wheeled around by the cast. In a charming little touch the truck even gets a final bow.   

As befitting the economic status and location, Costume Design by Colleen Johnson features a lot of denim, open flannel shirts worn over t-shirts, and sneakers, all with a real lived-in feel. Lighting Design & Operation by Peter Giles and Allison Mack effectively creates the various times of day with some pizazz added for the radio spots, dealership signage, and moments where contestants become a little delusional. 

The performances are an interesting mix of understated versus large. In the latter category Breeahn Carter's Heather is a bundle of energy who becomes increasingly unhinged, high on uppers supplied by the unscrupulous organiser Mike (Ben Mullings) who picked her to win because she'd look good in the subsequent promotions. Helen Carey gets to ratchet up the southern angst, especially when her Janis works out the whole thing is rigged in It's A Fix aided by her doggedly supportive husband Don (Brad Beckett). The production takes advantage of Lukas Perez's soaring vocals in the gospel flavoured Joy of the Lord, an infectious Act One highlight that collides into another highlight that couldn't be tonally more different as Riley Merigan's returned marine Chris floors everyone with the realities of serving overseas in Stronger. 

Joshua Hollander and Brittany Isaia work well together as Greg and Kelli who form a burgeoning friendship that could become much more. Amber Wilson gives Cindy Barnes somewhat of a conscience when it comes to the contest and dealing with Mike. However, Cindy's treatment of Rodrigo Goncalves De Azevedo's Jesus is an eye-opening snapshot of the fraught attitude towards immigration in the southern states even as De Azevedo replies with the plaintive Born In Laredo.  

Christian Dichiera gets to play both sides of that performance divide as his Ronald first makes a strategic error involving the consumption of candy bars in a spectacular flameout before later returning to be a considerate helping hand to Perez's Norma. The central relationship, however, is between cocky former winner Benny (Phil Bedworth) and Chris McCafferty's J.D. who is beset with physical frailties but determined to win. He is too proud to accept his wife Virginia's fussing over him and Gillian Binks delivers a beautifully sung rejoinder in Alone With Me. McCafferty's acting is impressively understated and he leads what is perhaps the most thematically resonant number, Used To Be, that harkens back to simpler times. Bedworth, likewise, closes Benny's arc in style with God Answered My Prayers. 

This isn't a toe-tapping, flamboyant musical in any sense. It won me over because it was a thematically rich character study with a Tony-nominated score that is well presented and performed. Well worth taking a look with performances running until 13 July at the Limelight Theatre in Wanneroo.