Review: ALL THE WORLD’S A STAGE at Signature Theatre

The poisonous toxins that drip from the venom of those who hate people having agency over their personal lives—enters into the self-hatred and interactions of those who are just trying to live their lives in a small rural town in the musical All The World’s A Stage. This intimate musical (there are only four characters and fifteen narrative -advancing songs—with a minimum amount of dialogue) is refreshingly directed by Matthew Gardiner with maximum emotional heft in Signature Theatre’s ARK space.

 The innovative composer Adam Gwon also provides the show's book.His sensibility hovers over this absorbing and even tear-inducing musical. Mr. Gwon’s (as in his earlier work Ordinary Days) songs arise organically as if springing fresh from the hearts and minds of his characters.

The lyrics and music of Mr. Gwon ---that explore identity, anxiety, prejudice, and a sense of belonging –are alternately romantic, exuberant, rebellious, idealistic and heartbreaking. There is a personal urgency, relevance, and originality  to the work of Mr. Gwon---but his work occasionally shows the influence of composers Stephen Sondheim and William Finn.

As the teacher, Ricky (Kyle Sherman) tries to navigate his way through teaching math in a rural Pennsylvania town, but he soon finds himself tutoring theatre on the side for a rebellious and anguished student Sam Bucknam (Deema Turkomani). Soon, intense interactions and reactions Angels in America. occur ---as the /religious oriented school administration and church community takes issue with the content of the monologue from Censorship rears its ugly head –primarily as LGBTQIA bigotry, as the church and school community are fostering their own restrictive mindsets on everyone.

The school administrator, Dede Rozenel’s (Erin Driscoll) religious views are challenged as she must intersect with those who will not buy into the authoritarian bent of ostensibly religious control. The character of Michael (Callum Francis) owns a gay bookstore and is in love with Ricky—but Michael is more assimilated into his life than Ricky. Complications occur when Michael meets Sam at his bookstore. Making connections with each other is a major aspect of this musical (albeit the connections might be fraught with misunderstanding or  reactionary impulses---).

Composer Adam Gwon’s fifteen songs advance the narrative with organic precision almost like a mini opera. Absorbing duets, solo numbers and full-ensemble pieces are all included in the musical.

Kyle Sherman as the math teacher Ricky Alleman, expresses the repressed gay man who comes out of his shell with charisma to spare. The tall, lanky Mr. Alleman engaged the audience with physical movements and contortions in the hilarious “The Show Must Go On.”

Mr. Sherman’s sensitive rendering to the power of art and expression in “Someone Found the Words” is a powerful and penetrating examination of pure feeling. Mr. Sherman’s intense vocals  in “Part of Me” portray a  probing look into seeing the part of yourself that nobody else can see.

Callum Francis as the extroverted and confident bookstore owner Michael Hallett exudes magnetic charisma. Mr. Francis’ delivery of the upbeat “I’m Your Man” sizzles with excitement. Mr. Francis’ acting chops shine as he portrays a man who will not live in shame—no matter what the cost.

Erin Driscoll as the initially quasi -dogmatic school administrator Dede Rozenel shows acting nuance –as her character develops a more evolved mindset, when high-stakes pressure occurs. Ms. Driscoll is mesmerizing in the deeply felt spirituality of “I Don’t Ask.”

Deema Turkomani as Sam Bucknam beautifully etches a strong characterization of a human being who is still struggling to gain more self-respect and belonging in an often- unforgiving community. Turkomani sings with a sense of devastating familial hurt in “Other Lives.” Turkomani’s acting prowess is highlighted in scenes showing their appreciation for mentoring from Ricky-- and in scenes showcasing their distrust of authority.

Music director and keyboardist Marika Countouris directs a small orchestra with skill. The integration of the orchestra –which is partially viewable at stage left –lends even more visual character to the scenic ambiance.

Scenic designer Paige Hathaway blends an assortment of lights strung upstage to show an eye-enhancing atmosphere of antiques and pictures on walls. This scenic depth is further upstage, behind a stage design of several curio and book-filled units and shelves. Scenes in Ricky’s schoolroom and Michael’s bookstore play out with great ingenuity on the same stage space.

Lighting design by Max Dolittle is very effectively managed.

Costumes by Shahrzad Mazaheri are splendidly appropriate for the 1996-1997 period that is portrayed.

All the world’s a stage (as Shakespeare said) and we all must play our roles –but we must not play them so well that we lose our authentic selves/authenticity in the process. The power of theatre and the arts can be a saving balm as we try to empower ourselves in the face of hatred ---but we must remember to take our “costumes” off and not to disappear in the face of hatred.

Signature Theatre should be applauded for presenting this penetrating and powerful musical during these challenging times.

Running Time: One Hour and forty-five minutes with no intermission

All the World’s A Stage runs through December 20, 2026, at the Signature Theatre located at 4200 Campbell Avenue, Arlington, VA, 22206.

Photo credit: L-R Deema Turkomani and Kyle Sherman in Signature Theatre's Production of ALL The World's A Stage.

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