Broadway Access Review -
All In

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ID: image of the All In Playbill in front of the stage with the text "Access Review" on top

 

General Note

This is a review of the accessibility of the theater, of the lighting/sound/scent design of the show, and a list of content warnings as a way to prep folks with various needs before they go see it. 

This is not meant to scare anyone away from seeing the show. Most productions have about the same amount of content warnings and sensory warnings to go along with it, they’re just rarely explicitly written down. 

For some people, knowing these things ahead of time makes it easier to enjoy the show because they know what to expect. And, often, makes those people more likely to see it in the first place. I hope that it’s helpful!

I am also happy to clarify any specifics, just send me a message or an email and I will respond when I can.

Also please note that I make these while seeing a show for the first time, so I may miss some cues or be slightly off as to their placement/cue line!

Theater

Hudson Theatre

All comments on the accessibility of lighting are in reference to seats in the front right balcony

Bathrooms: 

  • divided into the binary, though there is a sign that says “Please use the restroom that best fits your gender identity or expression.”

  • located down a flight of stairs to the left of the orchestra (it’s right next to the merch) and on the dress circle level with accessible options in the orchestra and dress circle

Other theater accessibility:

  • the entrance to the theatre is step-free, as is the orchestra. There is an elevator to the dress circle and ambassador lounge, though the dress circle requires minimum 2 steps for seating.

  • they offer closed captioning, assistive listening, loop receivers, audio description devices, and KultureCity sensory bags available in the lobby (and quiet spaces)

Click here for more information on the physical accessibility of this theater.

Light/Sound/Scent

General:

  • I didn’t need earplugs for this show, though sometimes the songs were a little loud 

  • the show runs 95 minutes without an intermission

  • the show is functionally structured as a story followed by a short song, back and forth between the two. The stories rarely have light cues, and the songs often have haze and a slow disco ball effect on the audience that originates on the bottom right of the stage. The lighting shifts between song and story are usually quite fast.

  • there is a round dim light on the back left of the stage that points at the front orchestra throughout

  • the sensory accessibility is similar to that of The Roommate, N/A, Doubt, and Purlie Victorious

The Show:

  • there is medium volume music playing as you enter the theatre

  • the show-specific music begins before the lights go down, but it’s not loud enough to be a jarring transition

  • Learning the Ropes - this story has a slow moving wave-like floor pattern, I did not find it to be straining. This may spill onto the front orchestra a bit

  • following song includes the disco ball effect, ~10-15 sec

  • Case Study - opens with thunder and lightning (on/off alternating white sidelights ~3 sec) - it does it twice, and then a third time after “the elephant man!” 

  • following song includes slow spinning pink heart projections & disco ball effect, first for ~3-5 seconds, and then returns for a full 30 seconds

  • song after The Big Nap has a green disco ball effect for about a minute in the middle of the song, as well as a quick lights on at the end of the song that is pointed at the audience

  • New Client - three brief uses of smoke

  • song after History Paper has on/off lights and moving white downlights over the orchestra with a pink single pulse at the end of the song

Content Advisory

  • sexual jokes

  • discussion of death in the second to last story

  • discussion of climate change in the final story