Signature Theatre
Teen reviewer: K. Plumber
Photo credit: Christopher Mueller
“It’s the world that splits us into pieces.
We are not broken.”
With soaring harmonies, honest character interpretations, and impeccable technical details, Signature Theatre’s production of All The World’s a Stage illuminated the deeply human need for connection and understanding, regardless of how polarizing the world may seem.
Background
Written by Adam Gown (Ordinary Days, Cake Off), All The World’s a Stage premiered Off-Broadway by the Keen Company in April of 2025. It opened to rave reviews, with critics praising the show as politically hard-hitting, resonant, and moving. Later, it went on to earn Drama Desk Award nominations for Outstanding Lyrics and Orchestrations. Signature Theatre’s production is the regional premiere.
All The World’s a Stage is set in small-town Pennsylvania in 1996, and follows a closeted high school math teacher named Ricky Alleman. A lover of theatre, he is approached by a student hoping to participate in the state theatre competition. Hesitantly, he agrees, but his efforts to help an ostracized student understand herself are quickly criticized by the local community, especially when he begins dating the owner of the town bookstore, Michael. Ricky’s previously clear boundaries between his in-school life and out-of-school life become blurred, and he must discover who he wants to be perceived as, and how his impact could change the community irrevocably.
Technical Elements
Walking into the theater, Paige Hathaway’s set design immediately immersed the audience in the halls of Valley High School. The walls of the theatre were lined with rows of lockers and 90’s posters, and strategic lines from Shakespeare’s Sonnet 116 were featured throughout the design. With the needed effect of transitioning between the settings of a high school and a bookstore, Hathaway’s ingenious design allowed for a pillar to seamlessly rotate to become a bookshelf in Michael’s store. Additionally, the main wall of the set was composed of a variety of shelves and compartments that cleverly housed set pieces such as a rolling desk, chairs, and a mobile book display case. Max Doolittle’s lighting design added impeccable details such as lamps, bistro lights, and even a disco ball, which were slowly revealed as the show progressed. Most scenes were assigned a warm and inviting color scheme, but scenes in the principal's office were assigned sterile whites and harsh blues to demonstrate the sharp contrast and discomfort caused.
Performances
Under the direction of Matthew Gardiner, each member of this four person cast delivered a nuanced and intricate rendition of their respective character, and yet they all worked together impeccably. Kyle Sherman’s Ricky was grounded in vigilance, as he skillfully examined each conversation with the school secretary before providing his opinions. His performance of “Pieces, Together” showcased his vocal agility with resonant notes in both his higher and lower registers. In contrast, with Michael and Sam, Sherman relaxed into a charming persona, taking on a showman-like energy in “The Show Must Go On.” As Michael, Callum Francis carried himself with confidence and a whole lot of swagger, providing a perfect foil for Sherman’s Ricky. Bursting onstage with a handful of confetti, Francis’s “I’m Your Man” was suave and self-assured, complete with killer vocals. Regardless, Michael’s life is constantly attacked, both verbally and physically. Francis’s stoic facials and body language persisted through the torment, but melted to genuine compassion around Sam. Francis’s detailed interactions added depth to his character, and made his rendition of “Mirrors” all the more impactful.
As Dede Rozenel, Erin Driscoll was nothing but genuine in her interpretation. Driscoll’s “I Don’t Ask” was heartbreakingly vulnerable, highlighting Dede’s deeply ingrained values while still attempting to show empathy. As Sam, Deema Turkomani brought an unexpectedly refreshing grit to the stage. From quick retorts to careful honesty, and even the passion of a true theatre kid, Turkomani’s interpretation was incredibly well-rounded. “Other Lives” showcased Turkomani’s vocals wonderfully, their textured belt and delicate head voice adding variety and dynamic to Sam’s confession.
Together, the cast proved their expertise with tight harmonies that truly engulfed audiences (thanks to Eric Norris’ sound design!), and with perfectly synchronized choreography, which even became part of the show’s speedy scene transitions.
Who is it For?
All The World’s a Stage is a love letter to the theatre and its ability to change peoples’ lives. Signature Theatre aptly describes it as a “rallying cry for authenticity,” which I wholeheartedly agree with. I believe that anyone could find something to love within this production. From its emphasis on the importance of teachers and educators, to the overarching story about identity, this musical is massively necessary.
With no intermission and a run time of around 1 hour and 45 minutes, All The World’s a Stage remains captivating with a touching story, well-rounded characters, and original music. Signature recommends this show to mature teens and up, which I agree with, as the show does feature a decent amount of profanity. More importantly to note, the show contains intolerance and intentional damage against the LGBTQ+ community and an LGBTQ+ owned business. If I had to give a specific age, I think around 12 years old would be the lowest age I would recommend.
All The World’s a Stage will run at Signature Theatre through December 20th. Check out Signature’s website (https://www.sigtheatre.org/) for more information on tickets, as well as their discussion nights, pride nights, and post show discussions with writer Adam Gwon.