Broadway is renowned for its grand musicals and dramatic plays, yet sometimes a production comes along that defies tradition. All In: A Comedy About Love—written by Simon Rich (celebrated for his offbeat humor in The New Yorker and Saturday Night Live) and directed by Alex Timbers (the Tony Award®–winning director of Moulin Rouge!), offers a distinctly modern, minimalist experience. This 90-minute revue-style show features short comedic sketches tied together by a single theme: the gloriously messy world of love.
Over the course of its run at the Hudson Theatre, All In hosts a rotating lineup of comedic luminaries, including Lin-Manuel Miranda, Aidy Bryant, Nick Kroll, Tim Meadows, Hank Azaria, and even late-night host Jimmy Fallon. These high-profile performers take on a range of oddball roles—whether pirates forced into parenting, a hapless mother juggling toddler crises, or the iconic Elephant Man seeking companionship. The result is a playful departure from Broadway’s typical musical spectacles, appealing especially to fans of sketch comedy and irreverent humor.
The show comprises short vignettes drawn from Simon Rich’s comedic stories. Each stands on its own, from pirates unexpectedly caring for a stowaway child to a frazzled mother navigating toddler tantrums. With each piece lasting only a few minutes, All In maintains a lively pace. If one scene misses the mark for an audience member, the next arrives swiftly to deliver a different comedic twist.
Rich’s signature blend of ordinary dilemmas and bizarre circumstances is on full display. The audience might watch a hardened pirate melt at the sight of a child or witness the Elephant Man lament the trials of romance. These absurd encounters capture the relatable madness of love, urging viewers to laugh at universal relationship struggles. For those who relish offbeat comedy that veers into surreal territory, All In is a delight.
Because of the rotating cast, performers often rely on scripts onstage, giving the show the spontaneity of a live radio play or improv comedy set. Lapses or unexpected ad-libs can spark genuine laughter. While this loose format generates fresh excitement every night, it can occasionally slow the rhythm if line cues are missed or comedic timing falters.
Although All In centers on romantic love, the show also explores themes of family, friendship, and compassion. From parental devotion to comical portrayals of heartache, the vignettes remind us that love, in all its forms, unites people through laughter and shared vulnerability.
Despite being a comedy, All In includes poignant moments. Characters let their guards down, revealing the insecurities behind the laughs. In one sketch, a rough-and-tumble pirate softens for his tiny charge, and in another, two strangers bond over broken hearts. These emotional beats anchor the show’s more whimsical scenes, adding depth and resonance.
A major draw is the ever-changing cast. Lin-Manuel Miranda radiates effortless charisma, Aidy Bryant brings warm vulnerability to each role, and Nick Kroll wields razor-sharp wit. Jimmy Fallon, in his Broadway debut, shows natural comedic timing honed from his Saturday Night Live roots. Even with minimal rehearsal, these performers typically rise to the challenge, delivering spirited and unpredictable performances.
Since each new ensemble has only a short rehearsal window, comedic chemistry can vary. When the cast clicks, ad-libs and spontaneous reactions spark genuine magic. On nights when performers struggle with cues, transitions can feel halting. Still, the potential for live mishaps adds an electric undercurrent—an exciting trade-off for fans of unscripted humor.
Rich’s writing excels in quick-hitting, off-kilter scenarios. He reimagines familiar relationship tropes—miscommunication, jealousy, heartbreak—through fantastical lenses. While most sketches end on a punchy comedic note, a few could benefit from stronger conclusions. Those seeking a cohesive story arc might find the revue structure somewhat fragmentary.
Known for visually striking shows like Beetlejuice and Peter and the Starcatcher, Timbers here opts for a stripped-down design that emphasizes performance and text. The subdued staging grants freedom for each scene’s zaniness to flourish without ornate backdrops. Some viewers, however, may be disappointed if they expect the elaborate spectacle associated with Timbers’s previous work.
David Korins’s set designs (including Hamilton) are typically inventive, but All In adopts a more understated look—simple furniture, limited props, and functional lighting. This choice complements the show’s live-reading spirit and ensures the spotlight remains on the actors.
Original music by Stephin Merritt (of The Magnetic Fields) and performances by the folk-rock duo The Bengsons enhance scene transitions. Their brief interludes give the production a bohemian vibe, offering palate cleansers between sketches. While the musical moments aren’t as memorable as a full-scale Broadway score, they infuse warmth and continuity into the evening.
In a theater landscape crowded with lavish musicals, All In: A Comedy About Love distinguishes itself through short-form comedy, star-driven performances, and flexible casting. Its sketches highlight the amusing (and occasionally poignant) chaos of modern love, reflecting a trend toward intimate, offbeat storytelling. By incorporating comedic icons like Jimmy Fallon and Nick Kroll, All In also draws audiences who might not typically choose a Broadway play. This fusion of sketch, music, and big-name talent opens the door for broader experimentation in mainstream theater.
All In: A Comedy About Love delivers an evening of clever, briskly paced vignettes that probe the oddities of relationships. While it forgoes a traditional narrative structure in favor of short sketches and minimal staging, the show’s core strength lies in Simon Rich’s absurd humor and the cast’s playful, often improvisational energy. Audiences seeking a conventional musical or a full-length drama may leave wanting more depth, yet those craving offbeat entertainment will find plenty to enjoy. Ultimately, All In proves that Broadway can accommodate small-scale comedic revues—especially when love and laughter unite to bridge the gap between the absurd and the heartfelt.
