Come from Away

A spoiler light review of Come from Away should begin with tone, because Christopher Ashley understands exactly how this comedy ought to feel. Come from Away gains early credibility from Petrina Bromley, whose presence is balanced by the different rhythm of Jenn Colella. The foundation of Come from Away can be stated simply: 7,000 passengers are stranded after the 9/11 terrorist attacks in a small town in Newfoundland, where they were housed and welcomed. Within its 1h 46m running time, Come from Away reveals both the benefits and the limits of that disciplined approach.

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Performance is the clearest human asset in Come from Away, beginning with the committed centre provided by Petrina Bromley. Jenn Colella keeps Come from Away from settling into one emotional register by approaching the material from another angle. The presence of De'Lon Grant gives the surrounding world of Come from Away additional texture without distracting from the main line. When Christopher Ashley holds on a reaction, Come from Away communicates more efficiently than another explanatory exchange could manage.

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Rather than summarise every event in Come from Away, it is enough to note how Newfoundland places Filmed under growing pressure. Petrina Bromley gives that tension a face, which stops Come from Away from becoming a mechanical sequence of developments. David Hein uses Gerald Schoenfeld Theater to widen the stakes of Come from Away without losing sight of the original problem. Where New York City becomes predictable, Come from Away recovers interest through the consequences surrounding it.

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Come from Away demonstrates the value of performer rhythm by making a technical decision feel inseparable from dramatic intention. For Eone Entertainment, the production of Come from Away balances performer rhythm with enough restraint to keep performances visible. The United States roots of Come from Away lend useful character to comic timing built around character across the central locations. What makes the finish of Come from Away convincing is the willingness of its sound and image to step back when a quieter reaction matters more.

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What Come from Away has to say is rooted in embarrassment, status and the gap between confidence and reality. The experience of Petrina Bromley carries that question through Come from Away without reducing the character to an example. New York City helps Come from Away test the theme through consequence instead of explanation. When Christopher Ashley allows ambiguity to remain, Come from Away becomes more involving than a simple statement of intent.

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The directorial personality of Come from Away comes from Christopher Ashley remaining controlled while retaining warmth when the premise invites excess. Within Come from Away, Christopher Ashley repeatedly favours readable choices over attention seeking flourishes. That discipline explains why the strengths comfortably outweigh the small reservations in Come from Away rather than appearing only in isolated scenes. Where Come from Away becomes less convincing, a middle passage could be slightly leaner, and the loss of control is noticeable without becoming fatal.

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For comedy fans who respond to personality and timing, Come from Away is ultimately one of the stronger examples of its form. Its most persuasive combination brings Petrina Bromley together with comic timing built around character under the direction of Christopher Ashley. The fact that a middle passage could be slightly leaner prevents Come from Away from being entirely seamless. Even with that reservation, Come from Away has a clear point of view and enough genuine feeling to justify the journey.