Come From Away is a brilliantly composed, intense and emotional musical. So much so, that it gets me every time. When I first saw it, I thought I had seen nothing like it. Now, several years later, having attended several productions, I feel the same way. Perhaps that is why I keep coming back to the well, leaving just as moved and appreciative as if experiencing this stunning show as a novice. Now it is OSMaD’s turn to move mountains and that they most certainly do. They are aided by a talented cast, accomplished musicians and evocative set design, ensuring all comes together seamlessly.
The story is set in Newfoundland, an island off the far northeast coast of Canada, after the September 11, 2001 terrorist attacks. As a result, for the first time, American airspace was shut down. Thirty-eight commercial aircraft carrying 6,579 passengers from 92 countries were diverted to the sleepy hollow that was Gander International Airport. At the time, Gander’s population was 9,651 (and the city had only four traffic lights). Ill-equipped to handle the deluge, led by the Mayor of Gander, the citizens of Newfoundland rallied and found a way through.
When the planes landed, those on board had no idea what had just happened. When they found out, like the rest of the world, they were traumatised and just wanted to get home … but they couldn’t, for five long days. In the meantime, the townsfolk went far beyond the call of duty to lend a helping hand. By so doing, they entrenched Newfoundland into the psyche of all who inadvertently found their way there. Amongst the chaos, that place became an unexpected haven, which the weary travellers took to heart.
Sure, there was tension, distrust, anxiety and heartbreak, but there was also overwhelming good will from the locals, which won out. In the story, love is lost and found, and new, life-long friendships forged … all in the space of just a few days that changed those involved. The musical’s unusual title comes from the fact that Newfoundlanders refer to those not born on the island as “Come From Aways”. To create the show, Canadian writers Irene Sankoff and David Hein went straight to the source.
They travelled to Newfoundland for the 10th anniversary of that fateful week. Further, they collected hundreds of hours of interviews that they distilled into the completed work. In a story that moves along at pace, there is so much meaningful substance in the narrative and the lyrics. Come From Away premiered on Broadway in 2017 and in the West End two years later. It claimed the Tony Award for Best Direction of a Musical and four Olivier Awards, including Best New Musical.
Each member of the OSMaD cast shares the limelight, assuming multiple characters. Among the many standouts is Marina Martin in her role as the first female captain of an American Airlines aircraft, who balances authority with empathy. So, too, Kat Desmler who brings nervous energy and enthusiasm to her part as a local TV reporter, new to the job. I was also taken by Jenn Biggs’ characterisation of a leader who goes above and beyond, while forming an unmistakable bond with one of the Come From Aways.
It is hard not to feel sympathy for Nabs Adnan as a Muslim passenger who faces suspicion and prejudice. Making their mark as a divorced woman from Texas and an English oil engineer are Adam Kirk and Megan Coe. George Carol brings passion and conviction to her character attending to the animals left to fend for themselves in the cargo holds of the diverted planes. Providing some comic relief as an African American who fears someone will shoot him and steal his wallet is Ongegu Ndubi. Frankly, I could name each cast member and every musician for the unmistakable impact they have, ensuring you walk out feeling buoyant.
A feature of the outstanding set design by Merinda Gallagher is a bank of colour TVs displaying flight information and the agony of 9/11. But her work is distinguished by far more than that, including representations of twisted metal beams from the World Trade Centre. Here I should also reference the important and memorable AV design by Chris Anderson. Further, four set pieces showcase molten ruins, but are also utilitarian, as they incorporate corded phones and monitors.
Laura de longh’s simple but effective costuming resonates, as does Marcello Lo Ricco’s sound design and lighting by David Brown. The songs are rousing and poignant, to which music director David Barrell and the slick band have done justice. Director and choreographer Daragh Wills excels in forging this unforgettable tale of anguish and inspiration. OAMaD’s Come From Away is not to be missed. It is on at Scotch College until 13th December, 2025. To buy tickets, go to https://osmad.com.au/come-from-away-2025
Alex First
Other reviews you might enjoy:
- Come From Away (Comedy Theatre) – theatre review
- Come From Away (Comedy Theatre) – Theatre Review
- Come from Away (QPAC)
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
