‘Come From Away’ review
‘an utter delight from start to finish and truly celebrates what it means to be a community in this unmissable production’
Tone Deaf Theatre Company’s Come From Away is a sensational piece that highlights the importance of human kindness in the face of tragedy; after the September 11th attacks, 38 planes are diverted to Gander, Newfoundland, and the small island community are tasked with supporting the almost 7,000 passengers stranded amongst them. This performance is an utter delight from start to finish and truly celebrates what it means to be a community in this unmissable production from TDTC.
Under the co-direction of Ellie Hutty and Merichel Herman (assisted by Jack Radcliffe), the whole cast was filled with standout performers, who not only formed the fundamental community of Gander but also expertly highlighted their individual characters’ struggles. Jonathan Wilson-Downs’ Claude was a commanding yet effortlessly entertaining presence, with both him and Anna Pile’s Beulah displaying impeccable comedic timing in their manipulation of pace and use of pauses. Toby McTurk as Oz and Julia Panova as Diane shone in the difficulties of multi-roling (thanks in part to the excellent costume supervision of Georgia Hitchcock and Elena Pesciarelli), as their various roles were all carefully considered to allow each to have its own spotlight.
Ollie Painter’s facial expressions carried his comedic portrayal of each of his minor characters, and formed a compelling duo as the Kevins with Ilan Miller, whose skilful control of Kevin J’s expression shifts - from comedic flirtation to tense frustration - was a highlight of the piece. Yasmine Berrada as Janice and Teni Taiwo as Nick were both impressive in sustaining emotion to achieve compelling portrayals of their characters, handling their characters complex scenes with ease. Bethan Crotty’s Beverly and Talia Tobias’ Hannah should both be commended for their control of stage during their respective solo performances of ‘Me and the Sky’ and ‘I Am Here’, with Tobias’ reprisal of her song acting as a gut-wrenching reminder of the lasting consequences of this tragedy.
Indeed, Come From Away is undoubtedly defined by its ensemble nature, and this is not just achieved by those on stage. Each aspect of this production is perfectly crafted to support the fast-paced changes in narrative and emotion. Sarah Johnston’s set design, though minimalistic, should not be overlooked; her beautiful capturing of the folk feel of musical, utilising a multitude of fly bars, allowed for effortless transitions. The intricate lighting design (by Rory Collins, with assistant Lucy Smith) greatly supported this, underscoring the atmosphere of each scene with precision. Carlos Davies’ sound design was well executed, notably the effects on certain lines transporting the characters into air traffic control. These all combined truly elevated the performance into the spectacle it was.
It would also be remiss to not highlight the band. Come From Away’s signature production choice to place the band onstage created a unique challenge, in which neither conductor nor cast could see the other for cues. Yet everything was cleanly executed and intricately timed, thanks to the musical direction of Hattie Meehan (vocals) and Euan Bennett (band). ‘Heave Away’ should particularly be celebrated for this, where Katie Madsen (playing fiddle), Megan Finch (playing mandolin) and Ben Armitage (playing percussion) stepped out to join the revelry of the cast without missing a beat.
Certainly, it is impressive of the whole production how precise and clean every movement was. The co-movement direction of Midun Odunaiya and Michael Nevin was handled with great intention and care - right from the opening number ‘Welcome to the Rock’, the movement supported the percussive elements of the band, and the cast executed it flawlessly.
Every person involved in the execution of this complex production – with recognition to Co-Producers Bee Wilkes and Evie Collins, Production Manager George Murray, Assistant Production Manager Alex McCalmont, and the rest of the entire production team – should be greatly celebrated for what they have achieved. Come From Away provides great difficulties in its relentless shifts between characters, settings and emotional intent, and yet the cast and crew made the whole show seem effortless, which is a true testament to all the work they have put in.
By Molly Winchurst.