Off-Broadway’s ‘All the World’s A Stage’ Is Tender, Timely, and True
Adam Gwon's lovely musical about life in small town America in 1996 is the rare kind of show that makes us remember why we love theater.
Musicals don’t always have to impress with kicklines, jazz hands, and spectacle. As Kander and Ebb wrote in their poignant song, “A Quiet Thing,” “Happiness comes in on tip-toe/ well what’d’ya know/ It’s a quiet thing/ A very quiet thing.”
Much like the unexpected sleeper hit of the season, Maybe Happy Ending, a love story about two obsolete robots finding true connection, the Off-Broadway All the World’s A Stage, is a wholly original story that quietly and happily makes room for reflection and introspection.
Gen X theater lovers particularly will appreciate Adam Gwon’s musical about life in small town America in 1996. Matt Rodin stars as Ricky Alleman, a closeted math teacher new to the area.
With a fervent passion for theater, he drives several counties away to see a local amateur production. With him in the audience that night is Sam (Eliza Pagelle), a 17-year-old student at Ricky’s school attempting to find herself — and her footing.
The pair do a delicate dance figuring out each other but eventually realize their shared passion for the arts and a mutual disdain for the stifling confines of their town.
Rural America is often demonized and made to look ignorant and unforgiving. Yet Gwon adds emotional depth and dimension to his cast, creating a bridge of empathy between the audience and these fictious characters. His creations are trying to figure it all out and hoping for the strength to endure whatever life has thrown in their way.
Stage veteran Elizabeth Stanley exudes warmth and compassion as Dede Rozenel, the school administrative assistant who learns that Ricky is harboring a secret — and an unapologetically queer boyfriend Michael Hallet, who works at a bookshop in the neighboring town.
All of the characters in Gwon’s show have their moments to shine, but as an ensemble they work together to create small theatrical magic. With a score that brings to mind compositions of the late William Finn, Gwon’s complex melodies are not necessarily hummable, but are pleasing to the ear and sung with care by this first-rate cast.
Jonathan Silverstein directs with a light hand, ensuring that the material avoids sappiness. All the World’s A Stage is the rare kind of show that causes us to remember why we love theater, why we choose to leave our native towns, and what grace we can offer to those we left behind. And that is something well worth singing about.
All the World’s A Stage (★★★★★) is playing through June 8 in Theatre Five of Theatre Row 410 W. 42nd St. in New York. Tickets are $75 to $95. Visit www.keencompany.org/alltheworldsastage.
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