COMPANY:
"When the sun is coming up,
And the world has come ashore,
If you're hoping for a harbour,
Then you'll find an open door
In the winter, from the water,
Through whatever's in the way
To the ones who have come from away
Welcome to the Rock!"
Pictured: The cast of Come From Away.
Credit: Janelle McMenamin
Come From Away is a show set during one of the darkest periods in recent memory; during a great tragedy that changed a nation, and the world at large, forever. But, while it does concern itself with that darkness-the smoke, the fire, and the chaos of that day-it mainly focuses on the people that often escape observation in times of crisis; the ones who helped heal each other of this devastating blow. It is a show of a light found in the most remote and darkest of lands; of discovered hope in the face of ultimate adversity. Simply put; it is an emotionally charged show that demands full emotional engagement by all involved. And, in this mission, Dramatic Productions are utterly successful in bringing that heart to the Gungahlin Theatre stage.
There probably isn't a more perfect show thematically for the community theatre space; a show about strangers and acquaintances alike taking each other arm in arm and making what they can of the task they have at hand. The community spirit imbued in this production is further emphasised by Dramatic Productions choice to donate a sizeable percentage of each weekend's ticket sales to one of many local charities, demonstrating that kindness and a sense of community are not Newfoundland exclusivities.
Continuing that trend of perfect choices, Block could not have found a better pair of directors than the esteemed Grant Pegg and Kelly Roberts, who've once again united in ushering forth a whirlwind of emotional turbulence that makes the one-act show simply whizz by. As soon as that first drum starts beating, the spark on this utter firecracker of a show is lit, and there is an undeniable sense of pacing established by Pegg and Roberts that does not let up for the rest of the show; a pace that is met remarkably by their finely-directed cast. Said cast is also responsible for bringing to life, by Pegg and Roberts' count, "over 80 roles", and not one role, no matter how small, is given a second less of their attention. This is a show wherein all three central aspects of performance are valuable, but the characterisation is what sells the believability and heart of this story, and both Pegg and Roberts have magnificently fleshed out a cast of twelve into what feels like a community from all over.
Musical Director Caleb Campbell is simply a master at work, and that is exactly what is required of him on a show like Come From Away. A challenge to any musical director, the show contains a soundscape that is rich with cultural variety, from the Newfoundland pub stomping, to the exotic sounds of further nations far beyond. Campbell has ushered forth not only a set of singing voices from his cast that hit every harmony to utter perfection, but also a band to match that perfection. Whether it be the distinct strums of Dylan Slater's mandolin, the impressive violin of Bronwyn Potter, or Mitch Hodgman's scene-stealing bodhrán, every member of the band plays their part, under Campbell's conductive hand, to render this score a glorious celebration of a community born of united cultures.
Rounding out the team is Choreographer Nathan Rutups, who ties the show together and keeps Pegg and Roberts' motion going throughout with impressively inventive choreography. With very rarely a moment without cast on stage, Rutups is met with the challenge of keeping the actors from simply planting themselves to the stage throughout the show; it is a challenge he meets head on. With impressive group numbers exemplary of strengthened community ties, as seen in numbers like "In the Bar / Heave Away", to effective maneuvering of suitcases in "Stop the World", Rutups' choreography ensures the show is laden with gorgeously instructed movement that never lets up until it is utterly necessary to do so.
Pictured: Nick (David Pearson, left) and Diane (Tina Meir), and he cast of Come From Away.
Credit: Janelle McMenamin
It is indeed a month of well-rounded ensemble casts filled with not a single dud amongst the ranks, and Come From Away is no different. Everyone is given a sizable number of characters they must embody, and the resulting performances do justice to each and every face. Every performance is perfect, but each actor had produced a favourite of mine that I feel is worth mentioning. Vikram Chunilal is a two-time heart-breaker as the gradually jaded Kevin J and the unfairly ostracised Ali, the latter of which is handled with considerable sensitivity and thoughtfulness by Chunilal. Joe Dinn masters both flamboyant and strong-man in equally believable manner as both carefree Kevin T and union leader Garth. Charlotte Gearside is perfectly inquisitive and suddenly-out-of-her-depth Janice, grappling in real time with the events as they unfold along with audience.
Tina Meir's Diane and David Pearson's Nick have remarkable chemistry as a pair brought together by this event, their joint performance of "Stop the World" being one of many highlight numbers in the show. Bob's pondering upon the setting dread of coming home in the wake of disaster is captured thoughtfully by Travis Moore. Isaac Gordon is tasked with introducing the audience to the people of Newfoundland as Gander mayor Claude; a task in which he succeeds with effervescence. Tracy Noble's Beulah is a strong presence throughout the portrayal of Gander's community spirit, given an almost motherly presence that made any moment of tribulation feel incredibly comforting in her presence.
Alissa Pearson's pet-worried SPCA worker Bonnie has fun moments of characterisation, as well as a deceptively quiet sense of real concern for the most-likely overlooked aspect of animal care during this crisis. Adam Salter's Oz is perhaps the most charming of the Newfoundland natives in a performance that strikes the balance between natural and entertaining, and Veronica Thwaites-Brown is heartbreaking as the deathly concerned Hannah. Deborah O'Toole, in a standout performance as Beverley, absolutely steals the show in her flawless performance of the gloriously heartfelt ballad, "Me and the Sky".
Craig Muller's lighting design is as well-designed as it is punctual, spotlighting the individuality of community and the community of individuals in equal measure, while also accommodating fantastic use of on-stage lighting and camera flashes. James McPherson's sound design is extraordinarily well-balanced and purposefully dynamic with the varying shifts between boisterous and thoughtful numbers. Chris Zuber's set design, despite compromising to allow the actors a blank-enough canvas to occupy, is still extremely effective at establishing mood through natural Newfoundland shoreline scenery. And Jennie Norberry's costumes are remarkably individualised, yet conveniently versatile, to maximise actor comfort when slipping in and out of roles.
Overall, Come From Away is a show that simply must be in a space like community theatre. The challenge raised to 9/11's chaos by the everyday people who wanted to continue pressing forward is an inspiring one, especially in a day and age where the world is far from peaceful and stress-free. It's a proud reminder of that indomitable human spirit; the underlying sensation that, no matter how hard things may get, we will always find a way to work through it, together. Pegg and Roberts' cast and crew have impressively realised this show at a local level, further bolstering that resonance of community cooperation. It is not one to miss.
One week of shows left before Come From Away disembarks. Better climb aboard; you do not want to miss out.
Tickets: https://stagecenta.com/showid/9131/theatreid/1132/ShowdetailsC.aspx
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