• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Reviews from Broadway and Beyond

  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Elysa Gardner
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Elysa Gardner
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
November 13, 2022 8:52 pm

The Old Man & the Pool: Mike Birbiglia Dives Into Middle Age

By Melissa Rose Bernardo

★★★★☆ The popular comic brings his own brand of gregarious, low-level neuroticism back to Broadway

Mike Birbiglia Old Man and the Pool
Mike Birbiglia in The Old Man & the Pool. Photo: Emilio Madrid

If you didn’t see Mike Birbiglia’s Sleepwalk With Me, which marked his off-Broadway debut in 2008, you can read the collected book of autobiographical comic essays, or listen to the audiobook. You can watch his later shows—My Girlfriend’s Boyfriend (his fantastic valentine to commitment-phobia) and The New One (his unexpectedly emotional ode to parenthood)—on Netflix.

But if you’re a fan—or simply a fan of story-driven stand-up comedy, not unlike Alex Edelman’s Just for Us (perhaps the best one-person comedy show I’ve ever seen, and produced by Birbiglia)—you should see Birbiglia live. He’s brought his latest show, the terrific The Old Man & the Pool, to the Vivian Beaumont; what the theater lacks in legroom it makes up for with a crowd of Birbiglia-age theatergoers who are trying to reconcile their boomer parents’ fragility with the prospect of their own mortality, and who also likely put off their annual checkups and recommended screenings for fear of receiving some kind of reprimand or bad news. (I’m just spitballing here.)

After a couple doctor visits where he learned that “these items in the physician’s office that I thought were decorative are quite functional,” Birbiglia was forced, reluctantly, on a path to improve his health. He ultimately settles on swimming—which unearths memories of childhood YMCA visits and musings on the amount of urine in a public pool (apparently there have been studies, and…well…you don’t want to know)—and keeps it up, for a while. Then: “Why do we stop doing the thing we know we should be doing?”

[Read Steven Suskin’s ★★★★☆ review here.]

Birbiglia is on tour in the Midwest when his doctor informs him that he has Type 2 diabetes. In fact, he’s on his way to retrieve a pizza delivery from his hotel lobby when he gets the news. “The thing about co-morbidities is that sometimes they team up to form a single morbidity,” he says. Suddenly, pizza is a lot less sexy—if you know Birbiglia’s work, you know how he feels about pizza—and he’s back in the over-chlorinated water at the Brooklyn YMCA. He even gets advice about his diet: “If you haven’t gone to a nutritionist, I’ll save you the trip. They know the same stuff as us.”

If you’ve never seen Birbiglia, you’ll quickly realize that his comedy is pointed but never cruel; though he mentions his wife, Jenny, and daughter, Oona, frequently, his prime target is himself; his pacing is near-perfect (only one bit, right at the end, runs out of steam); and a left-hook packed with emotion and sincerity often comes when you least expect it. “I feel like we don’t choose what we remember about our own lives,” he says about seeing his father, hospitalized, after an emergency angioplasty, “but what I remember the most about that day is that it was the first time I saw my dad as a person.”

Why do we stop doing the thing we know we should be doing? Birbiglia never explicitly answers, but we know this: He got back in the pool. So—what’s your pool?

Mike Birbiglia: The Old Man & the Pool opened Nov. 13, 2022, at the Vivian Beaumont Theater and runs through Jan. 15, 2023. Tickets and information: mikebirbigliabroadway.com

About Melissa Rose Bernardo

Melissa Rose Bernardo has been covering theater for more than 20 years, reviewing for Entertainment Weekly and contributing to such outlets as Broadway.com, Playbill, and the gone (but not forgotten) InTheater and TheaterWeek magazines. She is a proud graduate of the University of Michigan. Twitter: @mrbplus. Email: melissa@nystagereview.com.

Primary Sidebar

Animal Wisdom: A Theatrical Exorcism Powered by Astonishing Music

By Roma Torre

★★★★☆ The Signature Theatre ends its 35th anniversary season with Kenita R. Miller's revelatory performance in a revival of Heather Christian's haunting spiritual journey.

Thornton Wilder’s The Emporium: Wilder Lost and Found

By Frank Scheck

★★★☆☆ CSC presents the NYC premiere of an unfinished play by the Pulitzer-winning author of "Our Town"

Thornton Wilder’s The Emporium: Department Story

By Michael Sommers

★★★☆☆ Candy Buckley and a bright ensemble illuminate an incomplete dark comedy by an American master

Well, I’ll Let You Go: Coping with Grief, Magnificently

By Steven Suskin

★★★★★ Quincy Tyler Bernstine gives a whirlwind performance in a stunning new play by Bubba Weiler

CRITICS' PICKS

Joe Turner’s Come and Gone: Revival of Wilson’s Drama About “Finding Your Song” Mostly Sings

★★★★☆ Cedric the Entertainer and Taraji P. Henson star in Debbie Allen's revival of August Wilson's modern classic.

The Balusters cast

The Balusters: Love Thy Rule-Following, Historically Appropriate Neighbor

★★★★☆ Kenny Leon directs David Lindsay-Abaire’s new comedy about a neighborhood association gone wrong

Proof: 25-year-old Pulitzer Winner Proves to Be Even Better Than Before

★★★★★ Ayo Edebiri heads the cast in Thomas Kail’s production of the David Auburn play

Death of a Salesman: More Relevant Than Ever

★★★★★ Nathan Lane, Laurie Metcalf and Christopher Abbott star in Joe Mantello's emotionally searing revival.

Cats the Jellicle Ball ensemble

Cats: The Jellicle Ball: A Disco-Tastic Revival of Lloyd Webber’s Musical

★★★★★ You’ll be feline good after this ultra-glam Broadway-meets-ballroom production

Becky Shaw: A Brilliant Dissection of Love and Family Dysfunction

★★★★★ Gina Gionfriddo's 2008 black comedy gets a masterful revival from Second Stage Theater

Sign up for new reviews

Copyright © 2026 • New York Stage Review • All Rights Reserved.

Website Built by Digital Culture NYC.