Reviewed by Kate O'Sullivan
The WA premiere of Come From Away at Koorliny Arts Centre is a triumph of storytelling, compassion, and theatrical artistry. This heartfelt musical, which recounts the true story of 7,000 stranded passengers and the small Newfoundland town that welcomed them in the wake of 9/11, has been brought to life with skill and sensitivity by the cast and creative team.
Katherine Freind and Allen Blachford have painted excellent stage pictures, with Blatchford’s choreography a real highlight. The movements between locations and emotional beats were seamless, a real triumph for the team. Their vision embraces the ensemble nature of the show, with all actors transitioning fluidly between multiple characters without leaving the stage. The costumes played a crucial role in facilitating these transitions, neatly differentiating roles without distraction.
The set design is both beautiful and functional, seamlessly integrating the band into the performance and allowing for fluid transitions between scenes and moods. The attention to detail in framing small, intimate moments within the broader storytelling is particularly commendable. Lighting played a crucial role in enhancing the emotional beats of the production, beautifully shifting to underscore changes in mood and location. While there were occasional moments where actors seemed slightly out of their light, these instances were subtle and did not detract from the overall impact of the design.
The band, led by Kate McIntosh, tackled the demanding score with aplomb, delivering 100 minutes of near-continuous music with energy and precision. The onstage appearance of the violin and percussion during a pivotal moment was a lovely touch, adding to the immersion. However, the sound balance leaned slightly in favour of the band, occasionally overpowering the singers—a minor issue likely to be resolved as the run continues.
This production features an ensemble cast that excels in both the individual and collective aspects of storytelling. Standout performances included Gillian Binks and Colan Leach, whose portrayal of Diane and Nick’s budding relationship was both humorous and heartfelt. Maree Cole shone as Bonnie, delivering a pitch-perfect blend of humour and sincerity in her obsession with the welfare of stranded animals. Lucy Eyre (Beulah), Mahadi (Hannah), and Shannon Payette Seip (Beverly Bass) offered understated yet powerful performances, capturing the emotional strength and resilience of their characters.
While the accent work across the show is exceptionally well done, special mention must go to Tadgh Lawrence for his juggling of at least six distinct dialects with impressive skill. While the Newfoundland accents across the cast were convincingly thick, some moments could benefit from greater clarity in diction to ensure every nuance of the dialogue lands with the audience. Minor slips into Australian accents during shorter lines were also noticeable but did little to detract from the overall quality of the performance.
In a time of global division, Come From Away feels especially resonant. Its message of compassion, understanding, and human connection is as relevant in 2024 as it was in 2001, though one might ponder how differently such events might unfold in today’s polarised world.
Despite a brief 15-minute pause due to a fire alarm (a moment handled with professionalism and grace by the cast and crew), the performance regained its momentum, culminating in thunderous applause from the audience.
This production of Come From Away is a testament to the power of community and community theatre —onstage, backstage, and in its narrative. With a talented cast, strong technical support, and a story that resonates deeply, it is well worth the trip to Koorliny Arts Centre.
Reviewer Note: Kate has worked with a number of cast and crew members of this production. As such, this review has been edited by an external third party. Tickets for this review were provided by the theatre company.
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