Broadway audiences have had the chance to experience the comedic charm of Simon Rich's All In: Comedy About Love, which opened its doors last week at the Hudson Theatre. Though initially met with skepticism, particularly about the hefty price of admission, the show has made waves with its unique format and star-studded cast. Directed by the nimble Alex Timbers, this intriguing production showcases Rich's collection of short stories, read aloud by top-tier celebrities, creating what can only be described as a theatrical anthology with comedic flair.
With tickets soaring as high as $800 some nights, the initial challenge was whether audiences were willing to trade their hard-earned cash for what might seem like nothing more than staged readings. Yet, All In has continually defied expectations, raking in grosses topping $1 million weekly. Notably, the production features a rotating cast, which last week included the likes of John Mulaney, Richard Kind, Fred Armisen, and Renée Elise Goldsberry. Each performance serves not only as entertainment but also as the fulfillment of theatrical curiosity as stars like Lin-Manuel Miranda and Jimmy Fallon are lined up to grace the stage.
Structured as 90-minute segments filled with short narratives, All In finds its comedic rhythm through clever storytelling. The actors, seated comfortably on stage, read aloud from their scripts, effortlessly transitioning from rich hilarity to moments of poignant sentiment. All of this occurs within David Korins’ stylized stage setting — part coffeehouse, part whimsical lounge, topped off by live music from indie duo, The Bengsons.
Opening the show with his signature brand of humor, Mulaney navigates the audience through one of Rich's longest bits, involving the well-trodden bar joke about the hard-of-hearing genie and the “12-inch pianist.” While some critics may argue this joke feels overextended, Mulaney’s delivery consistently strikes the right chord with audiences who appreciate his comedic style. It's this blend of absurdity and sweetness within Rich’s narratives — drawn from his short stories published largely in The New Yorker — which keeps the mood light and engaging, regardless of the varied reactions from attendees.
Rich, known for his work on Saturday Night Live, often threads themes of love and warmth through his stories, even when couched beneath layers of humor. For example, the sketch titled “The Big Nap” features Mulaney as a two-year-old detective investigating the disappearance of his baby sister's unicorn. The absurd juxtaposition of parental concerns and hard-boiled noir narratives serves to not only elicit laughs but also intrigue as it showcases the inventive mind of Rich.
Among other notable segments is the pirate-themed story, where Mulaney and Armisen play bumbling sea villains who must grapple with newfound responsibility when they accidentally adopt Goldsberry's character, the feisty stowaway. "Should I change my name? Is 'Death' too Jewish?" is one such line causing giggles where the absurdity meets cleverly encapsulated societal observations. Each narrative twist showcases the depth of Rich's humor and his capacity to resonate with audiences across ages.
Some critics argue the overall production's effectiveness falters under the weight of its format — noting moments where jokes feel repetitive or punchlines miss their mark. "The repeated reliance on certain comedic elements dulls the impact," noted one attendee. Critics haven’t shied away from expressing sentiment toward the pricing schema, calling the considerable ticket costs misleading for what may come off as merely reading sessions of The New Yorker cartoons.
Nonetheless, the sheer talent floating across the stage lends energy to moments otherwise bogged down by content pacing. Engaging performances from Kind and Goldsberry offer enriching character insight. The chemistry among the cast members, juxtaposed with their individual performances, creates pop-ups of laughter and participation among theatergoers.
Advocates for the play often cite its ability to bring together stories steeped with charm, even if they occasionally tread familiar comedic waters. It's the cast's dedication to embodying Rich's characters effectively which brings sanity to the absurd and bridges the gaps where comedy sometimes struggles for footing. There's also something nostalgic mixed within the songs presented by the Bengsons, elevatively adding yet another heartwarming layer to this thematic exploration of love.
The closing moments of the show, overlaid by the humorous observations of Rich's great-granddaughter about life as it used to be, leave audiences both contemplatively amused and palpably connected. Even as they slip from their seats, theater-goers find themselves reunited with laughs and smiles, having experienced the whimsical world of All In: Comedy About Love.
Rich’s debut and its seamless transitions between humor and notable actors has reinvigorated the comedy scene on Broadway, crafting not just another production, but rather, creating cherished memories through laughter and light-hearted narratives touching on love. Amid questions of whether it is merely charming or truly unforgettable, one thing's for sure: audiences will continue to laugh about love long after they exit the Hudson Theatre.
