On September 11 2001, the most disastrous terrorist attack in living history took place in the USA, killing more than 4000 people when planes were used as bombs, devastating some of the country's most famous landmarks.

It's a sight many of us over the age of 20 can't forget, seeing the horrific imagery broadcast around the clock on the news. So it's the last thing you'd consider writing a musical about - right?

Only, Irene Sankoff and David Hein actually did - specifically about the impact the event had on a tiny town called Gander on the edge of Canada.

This is the first success of Come From Away - by indirectly telling one of the most shocking stories of our time through the lives of those who happened to be in the right place, at the right time, and were safely grounded in Newfoundland, a Canadian island.

The show, currently playing at the Phoenix Theatre in London's West End, is based on a true and relatively unknown story. It highlights what happened when 38 pilots were ordered to land their planes of all shapes and sizes in a remote town, bringing 7000 passengers with them.

CLICK HERE TO PURCHASE TICKETS FOR COME FROM AWAY

Consequently, the residents rallied to make their new guests as comfortable as possible in a strange and unfamiliar place – with both some hilarious and heart-warming outcomes, largely fuelled by Irish whiskey...

By focussing on this empathy and the hope that came out of 9/11, the writers have created a compelling musical which celebrates life, rather than mourn what was lost on that fateful day.

The show was previously nominated on Broadway for seven Tony Awards and ultimately won Best Direction of a Musical. It’s clear that this direction, led by Christopher Ashley, has translated well across the pond as it is the clean-cut, professional fluidity of the actors on stage that drives the entire show, more so in many ways than the story and music.

The cast members take on a multitude of roles, flawlessly flicking between accents, personalities and storylines.

Despite changing their costumes every few minutes, it is barely noticeable to the audience as the focus is always on the action taking place in another area.

The actors’ characterisation between the overly-friendly ‘islanders’ and the unwilling rabbit-in-the-headlights ‘plane people’ is what makes the musical surprisingly entertaining with several laugh-out-loud moments.

A comedy highlight is when Bob, played by Nathanael Campbell, is asked by the Mayor to take people’s grills from their backyard’s to help cook more food. Initially sceptical about the crime he is committing, Bob finds the homeowners offering him tea and ‘helping him steal their own grills’, allowing him to let loose and worry less about his wallet being stolen. It is that fear of the unknown, lack of trust and irrational behaviour that makes the show so universally relatable.

The script is incredibly clever at making storylines that every member of the audience can align with. Whether it’s the gay couple hoping others in the small town will be accepting, a female airline pilot proving her worth in a male dominated industry, the accidental lovers from Texas and England and the mother of a New York firefighter praying for good news – there is a favourite character for everyone. Many are based on and share the same names of real people, making it even more poignant.

Jonathan Andrew Hume and David Shannon provide an entertaining on stage partnership as Kevin J and Kevin T respectively, to which they say ‘it was cute… at first’.

Emma Salvo is hilarious in all her roles, but particularly as the overwhelmed new TV station reporter, Janice. She keeps the action moving by sharing aid appeals, and adds some light-hearted relief when she begs people to ‘stop bringing toilet paper to the Lions Club’ despite asking for it moments before.

But Rachel Tucker, of Wicked and I’d Do Anything fame, provides the stand-out performance as pilot Beverley Bass. Her rendition of Me and the Sky shook the auditorium and her southern accent was really quite authentic.

The music itself feels very Irish, as do the Newfoundlanders accents due to historical connotations. It worked well alongside the story and the whole audience left the theatre wanting to have a jig. The musical is mostly sung through, and has no interval which serves as a clever plot device in getting to the point.

The set itself is simple, but effective, with tall trees, a revolving stage and the actors moving props. The planes are depicted by just a row of chairs, but it has the desired outcome, while the gorgeous lighting by Howell Binkley helps move the story from day to night, and sky to land.

Come From Away dares to be different and it excels in the process.

It tackles a difficult subject in the perfect manner, and serves as a reminder that this is how we should commemorate the event nearly 20 years on – by looking forward, but never forgetting.

I have never seen another show like it.

Details

Come From Away is currently booking at the Phoenix Theatre until Saturday, September 14.

For more information, visit comefromawaylondon.co.uk or to purchase tickets for Come From Away from KM Tickets click here.