There has been much anticipation around town about this production. Well, it was definitely worth the build-up. Every moment on stage was calculated, precise and purposeful. The creative team of Director David Sinclair, MD Peter Johns and Choreographer Linda Williams are all highly credentialled and the product of their efforts shows their knowledge and skill. The cast, bristling with experience and talent, coheres beautifully. While the script provides many moments when individuals hold our attention, it’s the precision of the ensemble’s acting, singing and movement that is impressive. In the songs that is ably supported by Peter Johns and his band.
The plot is straight-forward, based in truth, and generally well known. On the day of the 2001 attacks on the Twin Towers, all US airspace was frozen, and thousands of flights were diverted. In this case, the 9,000-strong Newfoundland town of Gander received 38 international flights, and 7,000 passengers and crew who had ‘come from away’. The musical shows how the townsfolk of Gander handled this massive influx. While there are many humorous incidents, and lighter tones, we are reminded now and then of the underlying insecurity and terror which gave rise to the events on ‘the rock’, the remote outpost in Canada’s far east. There’s a clear tension, but the writers, and the strong cast, manage that tension well.
All twelve members of the central cast play multiple characters. They are variously the residents and the new arrivals, and many have an additional role as narrators and commentators. All that requires acute focus and a range of acting skills, not often demanded by a musical. This Therry cast handled the complexity with understanding and verve.
Most, in their named roles, carried a major theme of the musical. David Gauci was most convincing as Claude, the small-town mayor whose political and social skills were tested by the huge change he faced. Dee Farnell, as the airline pilot Beverley, was skilful is showing both the professional strains she endured, and the personal impact on her family life. She impressed, too, when leading the song Me And The Sky, celebrating her career, yet knowing all has changed since the terrorist attacks.
There were some fascinating pairings, all nicely developed by the cast: Kate Anolak as the compassionate, organised teacher who gave support to Hannah (Lisa Simonetti) who was waiting for news of her son, a New York firefighter. Simonetti was splendid in her moving solo I Am Here. Michelle Nightingale and Michael Denholm were entertaining as the odd couple Diane the Texan and Nick the Englishman. Another strong pairing were Brady Lloyd and Trevor Anderson as the two Kevins, a gay couple whose changing relationship was subtly developed.
However, the blending within the cast was in many ways the centre of the action, and they excelled in their characterisations and in the often complex ensemble songs. Welcome To The Rock, Screech In and Somewhere In The Middle Of Nowhere were notable among them.
The focus of the musical was on the cast, the music, the highly structured movement and choreography – all conveying the themes and the narrative. And they did that within a sparse set, bordered by half a dozen stylised trees, evoking totem poles. Although there were plenty of other well-coordinated props brought on at the appropriate times, it was the ‘choreography’ of the many chairs that was especially impressive. The lighting plot was reasonably supportive of each scene, with the occasional wayward spotlight action, noticeable only because everything else before us was so precise.
In all this was a thoroughly entertaining and moving performance, one of the best illustrations of a tight, effective and well-balanced ensemble you could wish to see. The large opening night audience agreed, as witnessed by the genuine standing ovation by the entire house.
