Review: Fast-paced musical at Rugby Theatre explores 9/11 story with dignity and humour

It was just across the road from the Royal & Derngate in Northampton that a frantic deadline day in the newsroom was interrupted by headlines from America and the first images of the Twin Towers under attack.

Though the arrival of director Rupert Goold at the aforementioned Royal Theatre had stretched our understanding of what theatre could be, that still didn’t equate to the thought there could be a musical in the offing as we watched the full horror unfurl.

The passing of the years often sees stories of great deeds and humanity emerge.

This is the case for Gander in Newfoundland which saw its population nearly double when 38 planes with nearly 7,000 passengers, plus pets and exotic animals, were diverted and then stuck there for five days after American airspace was closed.

This exceptional circumstance brought an exceptional response and all the warmth, stress, gravity and humour that emerged are wrapped up in Come From Away, which manages to be uplifting without ever feeling trivial.

It’s been an undoubted success - a huge tribute to writers Irene Sankoff and David Hein whose investment in speaking to many who were there has paid off handsomely.

With such integrity, a rich score and a distinct structure it could seem like an easy win but quality such as this is not readily achieved - and director Mark Tolchard and the whole team have risen to the specific challenges of translating it to the Henry Street space, with Alex Miller’s set design and its implementation a triumph.

The 12 actors play multiple roles and with fast changes from islanders to strangers throughout its straight run of an hour and 40 minutes, it’s a big ask - but one that’s fulfilled by what is surely one of the strongest ensembles Rugby Theatre has ever assembled.

No individual mentions here - this thrived because all 12 were key to its success and had such an obviously great time doing it.

This non-stop energy through solo and group spots also made it a busy stage, yet there was still room for the band to be dotted around the sides and to the back.

The Newfoundland accent has a distinct Irish ring to it, so the music was similarly in an Irish folk-rock style. The eight piece line-up featured accordion, whistle, fiddle, drums, all manner of percussion and more, superbly brought together by Jamie Payne on his debut as RT’s musical director.

The Pogues-like infectious quality means the cast are moving in rhythm from opening number Welcome to the Rock - it would have been hard not to - and with Carrie Gamble as choreographer, there was subtlety and drama throughout the shifting moods of the music, including the manic Screech In, with a fish as its guest star.

It’s at points like that, well into the show, that you’re reminded how easily things could fall apart but absolutely don’t, the action rocks on to a worthy standing ovation and a parting tune from the band.

When a production arrives on your doorstep that appears to be universally loved, it’s tempting to think it can’t possibly be that good.

It’s a delight to report that in Rugby Theatre’s hands, it’s not just good, it’s extraordinary.