Review: ALL FOR ONE at The Baron's Men

In All for One, history gets a rewrite—and thankfully, women take the lead.

Set in 1630s France, this original comedic caper from longtime Baron’s Men collaborators Aaron Niemuth and Laura Trezise is inspired by the real-life political scandal known as the “Day of the Dupes.” But rather than recounting the usual parade of courtly men in lace collars and lofty rhetoric, All for One pivots the spotlight to the women behind the power plays—casting them as the villains, the heroines, and everything in between.

Marie de Medici (Leanna Holmquist), exiled by her son, King Louis XIII, after a bitter feud with Cardinal Richelieu, isn’t going quietly. A damning letter is en route to the King, and Marie dispatches a trio of spies (Anneliese Friend, Renee Osborn, Rylee Ross) to retrieve it—and dispose of any man foolish enough to guard it. These spies are ruthless, clever, and all too comfortable with a blade.

Enter their accidental adversaries: three women who, by luck or sheer will, end up defending the crown themselves. Isabeau (Lindsay M. Palinsky), a former general’s niece, steps up to claim a legacy of her own; JeanMaire (Kendall Duffina-Saluto), a quick-witted maid, juggles flirtation with two Musketeers and a quest to protect the realm; and Collette (Aleena Azhar), a wide-eyed peasant, stumbles into heroism almost by accident. The trio’s chemistry is charmingly offbeat, and their evolution from bystanders to saviors gives the play its emotional core.

The men, for once, are mostly comic relief—and they deliver. Jared Walls and Uzziel Ruiz Ortiz play two hapless Musketeers more concerned with recovering a rare bottle of wine (to win JeanMaire’s favor) than protecting the monarchy. Their antics, delivered with just the right amount of goofball charm, provide levity without undercutting the stakes.

What’s striking is the deliberate genre reversal. In a theatrical landscape (and a historical one) where women are often confined to the sidelines, All for One reclaims the spotlight with swagger. The female characters are the thinkers, fighters, and plotters, while the men stumble around in search of purpose (and Pinot). Holmquist is a standout as the scheming Queen, and Friend, Osborn, and Ross bring bite to their mercenary roles. Meanwhile, Palinsky, Duffina-Saluto, and Azhar offer a refreshingly human take on heroism—awkward, determined, and endearing.

The direction keeps the parallel plotlines moving smoothly, using clever transitions and staging to jump between schemes and sword fights. The pacing rarely lags, thanks in part to the ensemble’s strong comedic timing and physicality. The full company—including Nguyen Adams, Jacquelyn Lies, Edwin Wise, Michael Osborn, Julio Mella, Jared Walls, Uzziel Ruiz Ortiz, and Lyn Pierce—adds texture and energy throughout.

Visually, the production has fun with the period setting. Renee Osborn designed the costumes, which are rich in detail and none more eye-catching than Queen Marie’s footwear, which makes a statement all on its own—regal, ridiculous, and impossible to ignore.