Come From Away at New Wimbledon Theatre

In our everyday lives, we hardly realise when a moment is about to go down in history as it happens. The 9/11 attacks, though now distant, still evoke sadness and anger. The tragedy had ripple effects not immediately obvious to those outside the events, while the rest of the world was glued to images of the smoke and the rising death toll around the World Trade Center and the Pentagon. The closure of US airspace, for example, left planes from long-haul flights in limbo – too far away for an immediate U-turn and unable to land at their planned destinations. Gander, a small town on the Canadian island of Newfoundland, once a refuelling stop for transatlantic flights, was chosen as the safe landing port for the diversion of 38 civilian aircraft, bringing over 6,000 international passengers to this remote place for an undetermined period of time.

The challenges and opportunities of these unexpected encounters form the storyline for Irene Sankoff and David Hein’s multi-award-winning show Come From Away. The production premiered on Broadway in 2017 before launching in the West End in 2019. This autumn, it’s touring the UK, with a nearly sold-out four-day run at the New Wimbledon Theatre in London.

The ingredients of such astounding success become evident just a few songs in. In Newfoundland, emotions were, to say the least, mixed. A new era of fear and discomfort in the presence of people of different religions and ethnicities was dawning. The mourning for countless victims was ongoing, while a large number of passengers were stranded, cut off from the events on the continent and unable to contact their loved ones. In this phase of fear and disconnection, the inhabitants of Gander became a beacon of solidarity. Whether it’s Beulah (Amanda Henderson) sharing the anxiety of another firefighter’s mother, Bonnie’s (Rosie Glossop) mission to save stranded animals, or the handling of newborns’ medical needs, the kindness of Gander shines through.

Songs like Stop the World and Darkness and Trees reflect on loneliness and disorientation, while I Am Here touches on parental anxiety. There are also lighter moments, such as the humorous scene in the local tavern where the traditional Screech In is performed.

Some sentimental lines, like “We all come from away / I’m an islander,” are inevitable, but they are delivered in just the right measure, framing the core actions with a balanced tone.

The music by Sankoff and Hein, along with Kelly Devine’s musical staging, keeps the sequences moving, alternating between energetic and slower moments without dragging the scene. The rhythmic flow is well-paced, with standout moments like Me and the Sky, a beautiful ode to aviation and dreams, and Prayer, where a mix of faiths resonates before joining in a harmonious message of hope.

The cast has not only great chemistry but also a strong awareness of the stage, making the space feel populated (as if by the nearly 7,000 people) without feeling overcrowded.

Sara Poyzer (playing Captain Beverley Bass and Annette) is both strong and humorous; Nicholas Pound (as Mayor Pound) provides a stable presence, and Jamal Zulfiqar (as Kevin J and Ali) is spontaneous and heartfelt.

Stories of loss, tenderness, infatuation and trust are woven together. It’s hard to imagine any theatregoer not connecting with some aspect of these portraits. Come From Away is a musical that moves, entertains and inspires.

Cristiana Ferrauti
Photos: Craig Sugden

Come From Away is at New Wimbledon Theatre from 8^th until 12^th October 2024. For further information or to book visit the theatre’s website here.