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[0:00] John Schwab: Hi, John Schwab here, and welcome to the Curtain Call Theater Podcast. Just a short intro to announce the re-release of the Welcome to the Rock series to commemorate the 25th anniversary of the terribly tragic events of 9-11. I know we've released these for the 20th anniversary, but this is such a monumental time to reflect on the last quarter of a century, a period where life sometimes doesn't seem to have got any better. We've had wars, which seem endless. We've had political turmoil across the nation. We've suffered through a global pandemic and the threat of radical terrorism across all social and political spheres. What better way to see the best side of humanity than to listen to a community of people who opened their arms and homes to the world and showed us all what the words love and acceptance truly mean. So we will be releasing the entirety of the Come From Away series, as I personally believe it is the perfect tonic in these times of trouble. Thank you and enjoy.

[1:12] John Schwab: Hi, John Schwab here from Curtain Call, and welcome to a very special episode of the Curtain Call Theatre Podcast, the first episode of our Come From Away series, Welcome to the Rock. For the past three years, we've been bringing you closer to the people that make theatre happen from London's West End and beyond. But rarely have we had the opportunity to take you on a real deep dive into a show like we'll be doing with this series, bringing you not only behind the curtain, but beneath the skin of a show, talking to the real life people that inspire the musical, as well as the creatives and the cast. You're going to meet the writers of Come From Away.

[1:50] David Hine: You know, we came back from Newfoundland with 16,000 stories that we wanted to tell at a, you know, in a hundred minute musical. The first draft was 100 hours.

[1:57] Christopher Ashley: I had been in New York during 9-11, so I had very unresolved and powerful feelings about what that event was. And I was so relieved that this was actually a show that brought so much kind of generosity and heart to that experience.

[2:13] Kelly Devine: I have to remind myself, I'm that girl in that hit show that everyone's talking about. And if you didn't know already, Come From Away tells the true story of when 38 planes and thousands of passengers were diverted to this tiny community in Newfoundland on the northeast corner of North America. And people were invited into the locals' homes, they were given everything, fed, housed, and people changed their lives there. They fell in love, they made lifelong friendships, and it's this extraordinary story of kindness set against the backdrop of this terrible tragedy.

[2:48] John Schwab: You just heard the voice of David Hine, one of the writers of Come From Away. But how do they do it? Not just the writers, David Hine and Irene Sankoff. How did the entire creative team from Come From Away transform one of the most tragic days in human history into one of the most hopeful musicals ever to grace a stage? Find out in this series of Welcome to the Rock.

[3:22] John Schwab: Come From Away shares the incredible real life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9-11, and the small Newfoundland community that invited these Come From Aways into their lives. As uneasiness turned into trust and music soared into the night, gratitude grew into friendships, and their stories became a celebration of hope, humanity, and unity.

[3:50] John Schwab: Come From Away has become an international phenomenon, from humble beginnings as a Canadian high school workshop performance to a multiple award-winning musical currently playing on three continents. We were so lucky to be able to sit down with the creative team of Come From Away the night before the Olivier Awards here in London to discuss how they got on board the show and how much they were looking forward to sharing their collective vision with an audience. We were eager to discover what their journey was, how they got from a high school stage to becoming an international hit. We started off by asking David Hine and Irene Sankoff what the genesis of the show was.

[4:56] John Schwab: David and Irene spent time talking to tons of people in the town of Gander, but were also in touch with everyone on social media.

[5:26] John Schwab: They were absolutely overwhelmed with the amount of stories to be told. So the writers had their research, and now it was time to do their workshops and presentations. And just listening to David and Irene talk about the beginnings of this show, it's almost as if Come From Away was willing itself to be on stage.

[6:08] David Hine: So ours was the first show for the Canadian Music Theatre Project, and we had the good fortune to think that the show would never get performed outside of Canada. So we just thought, okay, let's just do the best we can to honour these people who we have truly fallen in love with. These unique people out in Newfoundland, and also Captain Bass and Nick and Diane, who are this older couple, and we're thinking, oh, if we ever did this show anywhere else, they'd want a young couple, so let's just not even worry about it, let's just write the show that we want to write, that when these people show up, they're going to be happy that they saw it. We literally just tried to be as true to the people that we met as possible.

[6:52] David Hine: The first presentation we ever did of it was, we did like 12 presentations at Sheridan, and then we took it to the Panasonic Theatre in Toronto. It was just a reading, and we only had 45 minutes of the show. We hadn't written the rest of it, we had no idea how it was going to end or where we were going with it. And I remember talking to my friend and him saying, this story is extraordinary. And I think that's what it is, it's the story that resonates with people so much. And we were like, we have no idea where we're going, we don't know what we're doing, it's all smoke and mirrors. But what was fortunate was I think the story resonated with a lot of people, and we kept getting opportunities.

[7:31] David Hine: So we had this initial workshop, and then we sort of randomly reached out to Goodspeed and sent them an email. And I don't know whether it's something that just dropped out or what happened, but they said, do you want to be in our festival? And we said, oh, we can't, we have a conflict. And our friend, Michael Rubinoff, said, no, you need to take that and we'll just figure it out. And so we workshopped the show in Canada and the US at the same time with students Skyping back and forth with each other, and they knew when we were going to cut things far before we did. They were like, have they cut that song yet? No. But what was amazing was it was this show about cross-border collaboration, about actually students collaborating across the border, and it was really magic.

[8:11] David Hine: And then almost immediately someone came to see the Goodspeed presentation, Brandon Haldane, and invited us to be part of the NAMMT Festival. And from there, we had this relationship already with Junkyard Dog Productions, our amazing producers. We had brought our first show. When you say relationship, it was really like friend of a friend said, can you do me a favor and sit down and have breakfast with these kids? And they did.

[8:40] David Hine: We brought our first show down to the NAMMT Festival, the New York Musical Theatre Festival, and a friend of a family member had introduced us to Sue and Randy, and they had not produced our first show, which was fine. But what was amazing was when they came to Toronto to do Memphis, which Chris directed, they invited us out for breakfast to see what we were up to. And what we were up to on that actual day was we were saying, well, we're just going out to Sheridan. We're working on a show about 9-11 in Newfoundland. And they were like, that's great. We'll never see you again. Bye.

[9:20] David Hine: So we presented the show at NAMMT. And almost immediately, what happens at NAMMT is it's a showcase for producers and theatres across the world. And afterwards, you present your 45-minute cut of the show, and then you run outside and you hope that someone will come and talk to you. And everyone came to talk to us, which was amazing. But the first person there was Kenny Alhadeff from Junkyard Dog. We were completely overwhelmed. We had people from Disney talking to us, and we had people from theatres and towns I'd never heard of.

[9:57] David Hine: So we did a lot of talking with a number of people who were interested in it. But I still remember Skyping with Junkyard Dog, and we just laughed and laughed and laughed. And it was just wonderful. You could clearly tell this is the kind of thing we wanted to do.

[10:11] Christopher Ashley: This is going to be a marriage, and hopefully it will last for a long time, and it has. And they were really clear at the beginning. They were like, this is a show that no one can remember the title of. It's a show that everyone's going to call the 9-11 musical, and it's a show that's an ensemble piece and doesn't really have huge stars. So they were like, we don't know if this is ever going to go to Broadway, but we really love the story and we want to tell it. And we trusted them. The couple had no idea how big the show could be. We were just very fortunate that we never really looked too far ahead. We always just dealt with whatever was right in front of us. So if it was the getting ready for the festival at NAMM, we were like, OK, well, clearly no one's going to want to do this.

So we'll just focus on doing this in New York because it's the best we can, and we'll just get out. And then it was like, what do you mean we're going to La Jolla? OK, fine, we'll just do the best we can, then we're going to go home. Now I'm in London, yeah.

[11:17] Christopher Ashley: With the production happening in La Jolla, a creative team had to be assembled, and it was led by the multiple award-winning director, Christopher Ashley. My producing director out at La Jolla Playhouse was reading for NAMMT and read the script. And she came into my office, and she put the script down, and she said, you're reading this, and I'm not leaving your office until you do, and it's going to be the next musical we're producing, and you should direct it. So I read it on the spot, and there was a little CD in those days of the music, which I started to play in my car and really fell in love with it. And I know I had been in New York during 9-11, so I had very unresolved and powerful feelings about what that event was.

And I was so relieved that this was actually a show that brought so much generosity and heart to that experience. It really helped me personally. So we talked about the show, and David and I bonded around what it's like to grow up in a tiny, tiny town. It was very interesting watching. And then very shortly thereafter, when we decided to work on it, we went to Gander to do research in Gander. And it was very interesting, because at the time they were both living in Toronto, but David always said, I'm from Saskatchewan, which was a very nice calling card of small-town cred. And we met all the characters and never looked back.

[12:34] Christopher Ashley: With movement being a crucial part of the show, Christopher Ashley looked to someone he'd previously worked with, the Broadway choreographer Kelly Devine. So I first learned about this project, I was doing a workshop at Goodspeed as directing a musical, and they pick three shows, and they put us in housing next to each other in this really cute, quaint town in the winter. And I have two people living next to me that are very friendly, and they've written a musical, and we don't really know each other, but we're all going to go down to the, it was like a classroom, or a rehearsal room, and you sit at a table next to strangers, and you basically fight over who you want in your cast. They're students, and they're wonderful, but you need that one guy that looks, maybe he could play 40, he's really 17, but he's got a beard, so you're like, great, we'll take him.

So we were sort of going through this process, and chatting, and lovely, and I don't know, David has a story that I vaguely remember, but... Yeah, we both wanted the same person. And at some point in the audition process, it came down to Kelly and me arm wrestling, and I'm pretty sure that Kelly won. So, and that kid is now on Broadway. So that's how we met, and then we got to see each other's shows, and I thought that their musical was just fantastic, and touched me, and I was so impressed, and then I got to see them do, there's that cabaret performance that you guys did after, sort of to wrap up the two weeks there, and they were just great people, and wildly talented, and I thought, what a great show to put out in the world.

And then cut to, I guess like a year later or so, maybe a year and a half later, something like that, I get a call from Chris Ashley, and I was in Las Vegas, doing Rock of Ages, I was in my little hotel room, and out of the blue, Chris calls, and he said, hey, I'm working on this new musical called Come From Away, and I was like, Come From Away, I love that show, and he's like, I want to know if you'd be interested in doing it, and I said, absolutely, and he's like, let's get on the phone with the authors. So that's how it came back around.

[14:48] Ian Eisendrath: Now it was time to bring in a musical supervisor for the La Jolla and Seattle Repertory Theatre runs, someone that could take the sounds of Newfoundland, and weave them into the story. For Ian Eisendrath, luck would have it that he was in the right place, at the right time. I was just the luckiest person alive, I feel like, at that moment, because you guys actually, there was another music director who'd done the project at NAMT and Goodspeed, and I was just going to be around to support and say hello, and I have known Kelly since I was like, 23, and had great experiences with her. Chris, I feel like I'd been circling for a while, and always really wanting to work with, and the producers said, would you have breakfast with David and Irene, and you're going to really like them, they said, and I was like, okay, cool.

And so, right at that moment, that music director had another project. You guys were looking for someone, I think really just for the lab, just to like, explore what this show is, and we had a lot of sweet things for breakfast, and we realized that we all bond over waffles and pancakes, and coffee. I think we talked about the show, but the food was great. I had gotten to know the material, and I think the thing that captivated me was how completely, of course the story, the story was just unexpected and emotional, but I also, you could just tell this was going to have its own DNA, and it was going to be a brand new way of doing theater, and so getting together with them and hearing about their vision for what the show would sound like.

David has this vast background in listening to the music of Newfoundland, and he gave me his playlist, which I think, I still have it, I think it's maybe like three or four days worth of music, which I did listen to and fell in love with, and also as I started working with Chris and Kelly, just like you couldn't have full costumes and you couldn't have full production numbers, I think we discovered the same thing about the score, that the music functioned much more like a film, much more cinematically with that sort of documentary logic, and that became, I think the joy was figuring out all these themes and motifs and ideas and musical sections that are songs, but they're just very short, compressed to the point, and how do they help establish location and story points and all of that, and those three weeks in Seattle were magical.

[17:21] Ian Eisendrath: It was incredible. I think we were nervous at first, with the first production of a show, actually seeing it mounted, seeing it move, seeing it change, seeing it with lights and sets and costumes and the actors who we cast, and the first time it would ever be reviewed, we were really nervous, but we were just amazed, just overwhelmed by the reception. The farthest you can get on the continent from Newfoundland, down in San Diego, people embraced the show. We couldn't believe they lined up for three hours outside the show. The general manager there said she'd never seen something like that since Jersey Boys. I think it spoke to the fact that people really wanted to hear a story about kindness.

They wanted to hear a story about people being nice to each other, and it feels important to tell a story like that. From there, we went to Washington, D.C. In Washington, D.C., we had the first opportunity to bring the show to a town that was directly affected by 9-11. It looked like Come From Away was definitely making a huge impact in the musical theater world, and it was only a matter of time before Broadway called. With only one more city stop in Toronto before heading to the Great White Way, the creative team knew there was one more place they just had to visit.

[18:45] Claude Elliott: I said, this has to come to Gander. We have to make it happen. And it took a lot of work, a lot of phone calls, and they really wanted to come to Gander. I mean, the cast themselves wanted to come. The production company wanted to come. They felt, you know, they would like to do this as a thank you to the people of Gander and the province, because there's people here from all over the province, today and tonight. So it was a provincial thing, so it's just amazing. And not every day you get a chance to dance with characters that's going to Broadway.

[19:19] Christopher Ashley: And go to Broadway, it did. Following its Toronto run at the Royal Alexandra Theatre, Come From Away landed at the Schonfield Theatre on Broadway, opening on the 12th of March 2017. And how did director Christopher Ashley hope that New Yorkers would receive the show? So I've been a New Yorker for most of my life. So I hope that New Yorkers will recognize in the week after 9-11, and the people of Newfoundland, how incredibly generous they were. I hope that New Yorkers will recognize that about themselves, too. I have never seen New York as kind as it was from 9-12 and following. People just took care of each other all the time and asked how each other were, opened the doors for each other. There was a sense of community, which is always under the surface in New York, but which came right out to the top in that week. I hope that New Yorkers will.

[20:22] Unknown speaker: Well, the people of New York loved it, and so did the critics. The rave reviews for Come From Away kept rolling in after opening night, with Ben Brantley of The New York Times making it a critic's pick and saying, "Try, if you must, to resist the gale of goodwill that blows out of Come From Away, the big bear hug of a musical that opened on Sunday night at the Gerald Schonfield Theatre." But even the most stalwart cynics may have trouble staying dry-eyed during this portrait of heroic hospitality under extraordinary pressure. And Peter Marks of The Washington Post wrote, "The lump that forms in your throat in the opening minutes of Come From Away, and remains lodged there for a hundred buoyant minutes more, is the physiological confirmation that this effervescent musical, enveloped in Canadian goodwill, is an antidote for what ails the American soul."

And with that, the West End transfer was announced in June 2018, with a short visit to Dublin as a sort of European tryout. The tour was formally introduced to the press at a party hosted by the Canadian Embassy in London, with some words by David and Irene.

[21:48] David Hine: When we first started Come From Away over six years ago, we thought that the only people that might perform it would be Canadian high school students who would be forced to do it. But instead what we found is that this incredible story is universal somehow. It's a story about how we all felt on that day. We've seen that no matter where people come from, they all connect to this in the same way that we did when we heard the story in the first place. Because we all wanted to be able to do something that day. We all wanted to be able to help. People around the world are hungry right now for stories about kindness. And this is a story about people coming together, which is needed now more than ever before. It's a story about the world coming to a small town, and we can't wait to share it with the world. We're so excited that Come From Away is coming to Dublin and the West End. Welcome to the Rock!

[22:39] Rachel Tucker: My parents must have won. I was a crazy kid. The cast announced that day couldn't wait to get started working on it. We later caught up with Rachel Tucker, who plays Captain Beverly Bass in the West End, who went to New York to get some early research in. But now I did see the show on Broadway in September. So I was that audience member where I couldn't wait to stand and clap. I was ugly crying. I had snot bubbles coming out of my nose. I'm not ashamed to say it. It moved me and my husband so much. It was the best piece of theatre we'd ever seen.

[23:14] Rachel Tucker: On their return to London, I asked cast members how the show went down in Dublin. They went mental. The wonderful thing about Irish audiences is that I've been very lucky to work there a lot. The wonderful thing about Irish audiences is that if they love it, they really, really love it. And they will show you. Dublin is all word of mouth. If they don't like something, no one goes. I've been there, I'm sure. If they don't like it, no one goes. Just you there. Oh, hello. Hi, Mum. It was phenomenal. I couldn't get a ticket. It was like Wembley Arena. I had to literally beg, borrow and steal tickets. Because my family were all like, we'll go and see you. I know, right, but I want a ticket to see you. Be grand, don't worry about it. And of course, last week, they're going, can we see your show? No, you can't. I'm so glad. No tickets.

[24:03] Rachel Tucker: I found that there was a worry for me that they might find it, they might almost be, not insulted by it, but a bit like, hold on a second, what are you doing? Irish jiggy-jiggy music. It's this diddly-eye music and funny Irish accents. Are you taking the piss? I think in comparison to what we've heard now, the first 10, 15 minutes in Dublin, you felt and saw, we could see a lot of the audience still can with a show, them sitting back a little bit because of what David has just said. I've never seen Irish audiences like that ever, in terms of just their, I've never seen audiences react like that at the end of a show. I don't think they've ever seen it at the Abbey either.

[24:40] Unknown speaker: And what were the reactions like in London compared to Dublin? I think the opening night, our first preview was our opening night, but that reaction of the audience, the gut thing that now happens, knowing Dublin, because it happened in Dublin, there were 500 people at the Abbey and they all seemed to have an electric shock from the seat. We had not experienced that before. It was a leap to their feet and a real, it was not a, oh, that's quite a nice play. It was a raw release. When that happened again in London, obviously it was just more people, so the sound was unlike anything I'd ever heard before in my life. Imagine being a rock star. It was quite overwhelming. I think I had a little tear.

I did. I still do. Absolutely couldn't believe it. It was quite emotional, actually. Yeah, I didn't want to take it. For me, I was just like, OK, that's just the first night. It's never going to happen again. With how many months now? Five, seven months in? Five. Every single performance, that wall of sound comes.

[25:41] Unknown speaker: After we finished the opening number, the first preview here. We had the same reactions, but multiplied by two, because it's about twice as many people. What was it? The first preview was the most bizarre experience. Everyone went, it was crazy. We said, welcome to the Rock Bowl. And we were a bit like, oh my God. It's like being in a wind tunnel. Just screamed, and we couldn't get... I don't think I've ever heard that noise in a theatre before. No. And that was the end of the opening number. In our first preview here. And Clive being like, OK. Clive had to literally, because he's straight after the number, he had to kind of, just like, guys, seriously, we've got a whole show to go through here, relax. He had to calm down. He literally had to put his hands out and say, you know, anyway, show.

[26:41] Unknown speaker: With responses like that from houses night after night, it came as no surprise that Come From Away garnered fantastic reviews in London to follow on from those on Broadway. Dominic Maxwell in The Times commenting, "See the show in the West End and it takes all of ten seconds to be in its generous embrace. You stay there for the next hundred minutes, laughing, tapping your foot, wiping away tears, feeling good about humanity. What a rare, welcome feeling that is these days." Five stars. It was not its only five-star review. And in a strong season for musicals, Come From Away led the way, with nine Olivier Award nominations and taking home four statues on the night, including Best Choreography.

[27:28] Unknown speaker: And I want to thank the town of Gander and all the surrounding towns in Newfoundland. They effortlessly showed the world how easy it is to be kind, and so I just want to always remember that. We should just be kind to each other. So, thanks. This means the world to me. Best Sound Design. And the Olivier goes to Gareth Owen for Come From Away. Sound design is a collaborative effort and none more so than the relationship between sound and music. So, to that end, I'd like to start by thanking our awesome musical supervisor, Ian Isendrath. Outstanding Achievement in Music. And the Olivier goes to... I know, I know... Come From Away! Thank you to the people of Newfoundland and our friends from Away for trusting us to tell your story. And Best New Musical. Ooh, and the Olivier goes to... I'm nervous. I just saw them last night and they were magnificent! Come From Away! Come From Away!

[28:38] Unknown speaker: Firstly, we want to thank and congratulate all of our nominees for making it such an amazing, diverse, challenging year of musical theatre. So, thank you so much. We want to thank our incredible cast who shine so brightly eight times a week at the Phoenix Theatre. We want to thank our amazing creatives and all of our crew and our writers. We want to thank our partners, the Abbey Theatre. We want to thank all of our co-producers. And finally, we just want to thank the audience because you're the foundation on which this great industry is built. And every time you come into our theatres you allow us to tell our stories and live our dreams. And thank you so much. And this is Sufrov.

[29:30] Unknown speaker: Thank you, thank you London for embracing this story, this show. And I also just want to make a special thank you shout out to the people of Newfoundland who remind us every day, every day lead with your heart. Thank you. Not bad for a show that had hopes of hitting a few high school stages across Canada, huh? Join us for the next episode of Welcome to the Rock as we return to Gander to meet the real people behind the story of Come From Away, including all your favourite characters like Captain Beverly Bass, Sheriff Oz Fudge, Mayor Claude Elliott and many, many more. They'll tell you what it was like for them when 7,000 people descended on their tiny community to offer hope in the midst of a global tragedy. So join us then and we hope to see you soon.