It’s a winner from take-off to touchdown

REVIEW: Come From Away – The Swan Theatre, Worcester (Tuesday, May 19 to Saturday, May 23). Saturday matinee 2pm.

Showtime! stars rating: * * * * *

THE notion of a ‘Blitz spirit’ is routinely applied when the purpose is to convey images of human fortitude and endurance in the face of adversity.

As it is with most well-worn cliches, the term can so often run a very real risk of becoming rather dog-eared with overuse.

Nevertheless, it certainly fit the bill when it comes to the case of the several thousand airline passengers who found themselves re-routed on the day of the 9/11 terrorist attack on the Twin Towers.

Quite suddenly, the small Newfoundland town of Gander found that its population had doubled within hours after scores of planes, unable to complete their American journey, were forced to find somewhere to land.

This is not just the account of the stranded passengers’ experience, but also the story of how the locals managed to cope with the sudden appearance of what must have seemed to be the arrival of countless strangers in their midst.

This Third Wheel Productions play connects with the Swan audience right from the moment of touchdown. Powered along at a breakneck pace by a gloriously energetic rock-flavoured score, you will find yourself flying by the seat of your pants most of the time.

That said, there are indeed a few quieter and reflective moments, such as when a romance develops between two people thrown together by pure chance.

However, Nathan Beckett-Wilde’s taut direction doesn’t feature all that many fallow periods, the general pace perhaps symbolising the stress and uncertainty felt by so many people displaced far from home and with no indications of when they might return.

Lack of sleep, sharing rooms with total strangers, dietary complications – what may or may not be Kosher, for instance – all these factors further tighten the tensions. And yet… yes, somehow that immortal ‘Blitz spirit’ does prevail before much time has elapsed.

A high octane-fuelled cast never falters for a single second in maintaining the necessary impetus and several of the actors deserve a special mention.

Musical director Paul Bellamy’s narration stands out, while assistant director Jacquelyn Cook and Laura Fullelove’s voices seamlessly cut through the gloom of what has unfolded miles away in New York, shouts of defiance that speak of no surrender to cruel circumstance.

And then there’s Patison Harrigan, the gentle giant who knows exactly what to say when hearts start to sink and all seems lost. These are very strong performances, enlivened by Sian Williams’ crisp choreography.

The book, music and lyrics by Irene Sankoff and David Hein is very much a story of this troubled century, while at the same time being an eternal parable that celebrates Mankind’s limitless capacity to rise above whatever evil has thrown down the gauntlet.

And in much the same way, a capacity crowd on this first night certainly took the show to its collective heart, at the end giving it a standing ovation to the closing notes of Leonie Plummer’s deliriously evocative fiddle work.

This was a sterling production and richly deserves to have a well-attended run at The Swan all this week.