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Brilliant thing number one million and one spending just over an hour in a room with a group of strangers, being reminded what it is that you love about theatre and also what it is that you love about life. That reference will mean something to you if you have seen the play Every Brilliant Thing. But if you haven't yet had the opportunity, don't worry. I I'm about to tell you all about it. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you are listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I'm a professional theatre critic here on social media and today I'm very excited to let you know about one of my favourite recent theatrical discoveries. This is the play Every Brilliant Thing. It is currently being produced in its West End premiere at at Soho Place in London, but I first saw the play last year at the Edinburgh Festival Fringe in a tent and it's at that same Fringe fest where the play first premiered over a decade ago. Since then, it has gone on to achieve extraordinary acclaim and international success, even though this is the first time that it's been produced in the West End. And the simple reason, I think, for all of that is because of the play's extraordinary universal themes. It speaks to everyone profoundly and acutely in ways that I'm going to tell you about today in this full review. I gave this a five star review last summer at the Fringe. I remain just as in love with it. And this is a really exciting production because it stars five different performers on alternate nights sharing the central role. It is a monologue piece. It is one performer on stage, but it's very much in conversation with the audience. It's also only one act. It's staged in the round. It's sort of this magical bubble of community and theatre that doesn't burst for the duration of the piece. Now, the performer that I saw in the play was Johnny Donahoe, who is also its original star and a collaborator on the writing process with Duncan McMillan. Duncan has co directed this version of the play, which very much feels like a continuation of last summer's Fringe production with the director Jeremy Herrin. But Johnny, despite being very personally close to the play and, you know, a key ingredient to its initial success and a very special person to be performing it, isn't the only actor taking on this role and this monologue and this incredible piece of theatre this summer, because the unnamed central role is also going to be performed at other performances by the comedian and actor Lenny Henry, as well as Ambika Mod, Sue Perkins and Minnie Driver. I am so intrigued to experience this play with them because I've only seen Johnny Donahoe performing it, which I do sincerely recommend. But at this point I'm also very intrigued experience how it plays with a different central performer. Anyway, let me tell you exactly how brilliant this is. Let's talk about its themes. Let's talk about the audience participation. Don't get nervous, I promise it's lovely. And if you have had the chance to see this production or any other production of every brilliant thing, feel free to weigh in in the comments section and join in with the conversation. What did you think of this play or this production in particular? Let us know. And since the play is about a list of utterly brilliant things, feel free to share something that you consider to be a brilliant thing in the comment section down below, just like I did at the start of this review. For now though, let's talk about it. Why do I love Every Brilliant Thing so much? So Every Brilliant Thing is an extended solo monologue performed in conversation with and in collaboration with the community. That the audience within the theater are empowered to become an unnamed central protagonist recalls many events from their lifetime, specifically those years and those days spent chronicling a list of brilliant things, the original purpose of which was to remind their mother, who, at the very begin of the play is recalled to have been hospitalized after what is described to us as the first attempt, how many brilliant things there are worth living for. And so the piece obviously has an inherent relationship to grief. Initially viewed from the perspective of a young child. One of the first lines of writing is, the list began after her first attempt, and that is the note on which we start. But the brilliance of the writing here after that very personal recollection is the way in which it switches gears. And I want to talk extensively in a few moments about the way in which this play depicts and discusses mental illness and suicide, because I think it's done in a really astonishing way and also a really responsible way. But after we hear those words and we understand this to have been a childhood experience, within a few moments, the audience are invoked and forced to read out lines that have been assigned to people before the show. I will talk more about the way the audience interaction is prompted here. But you have audience members from all sides of the auditorium shouting out different childhood joys, things that a child of that age would consider to be utterly brilliant. Things like getting to eat ice cream and getting to stay up late and watch TV and not get told off, seeing people falling over, etc. Those simple childhood joys that we can all recall and relate to. And as we move forward in the play, there are two stories being told here, because we are having a thorough conversation about grief and about mental health and about suicide and how this central character's understanding of that in relationship to that shifts and changes, changes as they grow older. But also, that aside, it is a very interesting depiction of the universal human experience and the way in which we change as we grow older, and the way in which our relationship to Joy changes as well. And I say this because the list, as it is created and as it is added to throughout the show, and, you know, occasionally it's neglected and forgotten about and then discovered again in very moving and meaningful ways. It comes to represent two different things, because it has its initial and original purpose, which is reasons to live, joys worth holding on to, an impetus, if you like, to carry on in spite of huge emotional challenges and Adverse mental health and a very stressful and anxiety inducing world. The intended recipient of the joys of the list is initially the character's mother, but it comes to mean something to them as well. And it comes to, you know, give them the strength to make certain decisions and take certain leaps and ultimately to carry on. But also, that's the very profound version about grief. It represents something even simpler as well, because the nature of the items added to the list changes. And this is my favorite detail to pay attention to in this play, because at the beginning, it's ice cream and it's staying up late and it's TV and it's people falling over. And then as our protagonist ages, there is a change in the nature of the things which brings them joy. And it makes us think about how we get older and we change as people and we maybe forget about the things that brought us so much joy and happiness in childhood. And in lieu of ice cream and staying up late, the new additions to the list become things like the smell of old books. Or there's one particularly brilliant one that's about when an idiom overlaps with the real life circumstance. For example, waking up and having an enormous realization at the same moment that you literally wake up and smell the coffee. But also, that's not to say that there isn't any silliness as we grow older, because there's still a sense of the inner child continuing to persevere. We have lines on there like Keanu Reeves, no explanation offered, just a brilliant thing. And also the word goggles a little bit older still. And the new entries on the list become romantic. They become about relationships. And the way in which we move through this list chronicles an entire lifetime. Now, by this point, our protagonist has forgotten about the list for some time, and it's been discovered by a romantic partner with whom they have been exchanging books back and forth. And it's their partner who makes an addition to the list that reads number 1000. When someone lends you books with a few subsequent entries underneath, which makes my heart literally explode. Okay, it doesn't literally explode. My heart figuratively explodes. My heart is figuratively exploding out of my figurative ears all onto the. Well, not the figurative stage that's literally there, but I love what this represents because it's the notion of love coming into this character's life for the first time in this first love and this meaningful relationship that reignites their ability to add to the list. After this happens, they once again start adding all of these different things, because that relationship and that person and that love has taught them to reconnect to their joy. And that's also what this list is. It's our ability to even see these things in the world in the first place. And that, I think, would be a sufficient arc for what this list represents. But it then metamorphosizes once more and it becomes even more expansive because the list, within the context of the story, becomes collaborative and it becomes something that a group of friends add to. And this is all about, you know, finding community and finding joy in those things that you can share with other people and wildly specific niche entries as they become that you wouldn't have considered. But when someone else says, you think, oh, my God, yes, that is brilliant. And that's a sensation that we all experience as they are read out in the auditorium. There are so many brilliant laughs that happen when somebody reads out one of these little pieces of paper and everyone goes, oh, yeah, that is a fantastic thing that I'd never thought of before, but it's excellent. Spoiler alert. This is me trying to use adjectives other than brilliant throughout this review. I'm not doing well. I'm absolutely not doing well. Feel free to turn it into a drinking game. But it becomes about very specific and even in unusual situations. And there's a really interesting footnote here, because since the play was first produced, it has been performed in hundreds of different countries. It has truly been performed around the world. And often when it's performed in different countries, in different cultures, they will add to the list or they will change things within the list to make them relatable cultural experiences to the people of that country, which I think is just wonderful. How fantastic that this is an adaptable piece of theatre so that it can still be relatable, so that its themes can continue to be universal. With the specificity of each memory, each experience shifted a little bit. God forbid there are people in the world who don't know who Keanu Reeves is, but you get the idea. And I'm painting a very joyous picture of the story that is told here. But like life, like the human experience, it is not consistently joyful. And in the very first moments of the play, we understand the present of suicide and that we are talking about grief and that we are talking about mental health. And there's a moment a little later on when our protagonist turns towards the darkness and experiences their own struggles with adverse mental health. And if the euphoria of first love was the thing that allowed them to stay up all night and add thousands of entries to the list because they were feeling this overwhelming connection to the joy of the world. You know, you're out and you're skipping and you're walking in nature and you can hear the birds singing, all of those things. Then a depression that comes in adulthood becomes the reason why our, our protagonist can't bring themselves to add even another line, even another word to this list about joy and happiness because they can't see it anymore. The world has essentially turned to grayscale. And that in and of itself is a brilliant metaphorical description of depression as this thing that stops us being able to perceive and understand and remember the joys that continue to exist around us. It doesn't mean that they aren't there. It just means that they are harder to notice or impossible to notice. Ultimately, this is a piece of theatre about an inexhaustive list of the things that can make life brilliant. That list is about our relationship to joy as experienced throughout a lifetime. How it can change and shift, how it can recede, how it can re emerge. And much like life, the play itself is surprising. It is at times painful, but it is ultimately also joyful. That is to say, full of joy. And by its conclusion, there is a sentiment conveyed about working hard to reconnect that joy and to be able to see it again and to be able to find it again. This, for our central protagonist, means therapy and it means a support group. And it, I think, is representative of the idea that at times in our lives it can get harder to remember the list and to see the list and understand the list and be able to add to the list. But it doesn't mean that it isn't still there. It has always been there. Now, I do want to talk about this play's important themes, but I think it's sort of impossible for you to understand what this piece of theatre is without me telling you a little bit more about how collaborative and involving it is for the audience.
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Robert Mays
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Mickey Jo Theatre
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Mickey Jo Theatre
So I think the exact way in which this works may vary from production to production. And I can't even remember if this is exactly what happened when I saw it in a much smaller in the round tent space at the Edinburgh Festival Fringe, but at at Soho Place the other night when I saw this play, Johnny Donahoe was on stage before its commencement, going around to members of the audience as they were arriving, as they were already seated, and talking to them about the possibility of them being involved in a small or slightly larger capacity in the play that was going to be performed, and handing them small slips of paper, most of them with a number at the beginning, because the majority of these pieces of paper have items from the list. So Johnny in the first few moments is telling us about his initial list, the one that he made for his mother with just a few entries. And he will say number seven and then the person who is holding number seven will read out people falling over, etc. And that is how you get the glorious very early moment of all of these different voices from around the auditorium shouting out these fond childhood experiences, which is very special in and of itself. And we were very lucky at this performance, I think, to have very game participants. But I dare say that you get a lot of people like that at many performances and you could tell that there was a reluctance for many of them to participate as fully as they were realizing they were going to have to, as some of them were just given character roles that it emerged would have something of a back and forth. There is one audience member who is asked to play the teacher, which involves them removing a shoe and a sock and putting a sock puppet on their hand. But nobody, I believe, has to do any of this against their will. And critically, every single example of this serves to create a sense of community among this audience. It brings us all closer to the play and in doing so, closer to each other. We are all connected to this thing that's happening in the room, in the space that is no longer behind a metaphorical glass wall on stage. And because we are all now emotionally connected to it, and because more people around us are becoming involved and hearing these voices around us, we are connected to the people sat next to us, sat behind us and sat in front of us. Regardless of this element of it, it is an extraordinarily life affirming play. But this part of its identity is what makes it such a strong reminder about the affecting power of theatre and the ability of theatre to bring us closer together. And a lot of it is very poignant, that conversation between a version of our protagonist in childhood with a teacher who guides them through this very difficult chapter of their life with regards to the mental health, health of a parent, but also the audience member who is asked to take on the role of father. I love the way that this is staged with Johnny at this performance going and sitting next to that particular audience member as though they were driving in a car. There's another great, very small passing moment in which he remembers being given chocolate and a juice box by a kind elderly couple in a hospital waiting room. And he finds a nice older couple in the audience and stands next to them and calls them nice old people. But the best part of that whole moment, at this performance at least, was him giving them the chocolate and the juice box when he didn't want them anymore. And the gentleman asking if he could finish the chocolate and then immediately doing so. I just like that he was being physically nourished as we were all being emotionally nourished. You know, there's also some wonderful chance comedy, as he asks audience members to provide books in a moment where an exchange of books is necessary for the storytelling. And I can't decide whether I think that these were planted and maybe if I'd got there earlier, I would have seen that these books were planted. Maybe that's not even meant to be a surprise. Or if these were legitimately the books brought in by different audience members, because one of them, I think, was like a GCSE science textbook and the other one was a Percy Jackson book. And so it allowed for a little moment of comedy as they discover these book titles and they're having very serious conversations about, like, sharing these meaningful books with each other. And that puts us in a wonderful place tonally, because we're also embarking on a very charming love story at that exact time. But just like I said before, not every moment of this is delightful and joyous. And sometimes the audience involvement and engagement helps to remind us of that as well, because there are such positive highs. And this is something of a spoiler for both the audience involvement and the plot itself. If you don't want to know this little detail, you can Skip ahead about 20 seconds. But there is at one point a wedding, and audience members seated on the aisles of three different sections ascending through the theatre are invited to throw cups of confetti, reminding us all visually that this is a moment of Beautiful collaborative human storytelling. But out of moments like that, we crescend window to this sort of manic joy punctuated by Johnny announcing that he, you know, high on the joy of life, is going to try and high five every single audience member. And as it quickly materializes that he's not going to be able to do that, there is a little bit of a tinge of darkness about what this represents. And sure enough, this protagonist character once again tells us about their mother and that this is something that she experienced, that she had these brilliant moments of high energy, joy and mania you would perhaps call them. And it's perhaps central to the ethos of the story being told here that we are included on every aspect of a life, that the audience is participatory in those low moments as well as the joyous ones. But also that it's the voices of the audience and the community that bring emotional buoyancy back into the show. Because whenever the memory of the list stirs and those early numbers are read out again, we hear those first brilliant things on more than one occasion. And we hear hear later ones in the list as well. It's the audience members reading out happy memories and happy thoughts that injects joy back into the space. It allows the character of our protagonist to physically keep going in life, but it also empowers us to carry on through what is at times a challenging narrative. And since in this moment of the review, I'm talking about people in the space, I do want to take a second, because other people are going to perform this, and you might see this with a different actor at Soho Place or around the world with a different performer. I do want to share how extraordinary Johnny Donahoe is in this performance. And there's inherently, like I said, something very, very special about it being performed by the person who helped to develop and devise it originally, who has helped to contribute to the original text, who is credited as a co writer for that reason. But I can scarcely imagine someone being quite as deft at the audience involvement and doing it so charmingly and being in such utter control of the balance of comedy and levity and tension and darkness and humanity as Johnny is. It's such a beautiful, mesmerizing performance that feels like a real entire human being. And there's one very interesting note here as well, actually, that I almost forgot to mention, because both times when I have seen this play, when a love interest character is selected, both times they have been portrayed beautifully by the audience member who is chosen, for what it's worth but it has always been a male presenting audience member alongside a male presenting performer. But there is nothing necessarily within the text. I mean, there's vibes of it that feel familiar of a queer relationship. But I think that's just because I'm inserting myself, as we are all invited to do, like the way that the meeting of the parents goes and the sort of the cultural sharing of literature and ideas that commences the relationship. But on the page in the script, there is nothing to gender either the protagonist character themselves or the romantic interest, which I think is great. And like I said, having now seen Johnny do it more than once, I am deeply fascinated and I want to see the most different interpretation possible. I am so fascinated by, like Minnie Driver in the role and I think she might be the one. I would love to go back and see all of them. I just don't have the time. And honestly I'm not sure I have the emotional capacity because it's a very overwhelming theatrical experience at times. And if it was running for a year and it was one person a month, I could absolutely go and see every brilliant thing once a month. I don't know if I can do it weekly, but Minnie Driver is right at the end of the run and I might go and see her do it because I'm so intrigued about what that's going to look like. Finally, then, let's talk about the themes of the play.
- [22:58]
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Mickey Jo Theatre
So we're talking about grief and we're talking about mental health and we're talking a lot about suicide. We are also talking about life and humanity and love and depression and all of these simultaneous realities. The conversation about grief is, I think, so interesting. We realize immediately that that is presumably the direction this is all heading in when we begin with that line. The list began after her first attempt and one of the first scenes that we see afterwards in order to contextualize this young character's understanding of loss and grief and death is the medical euthanasia of a beloved family pet. This also teaches us what the audience involvement is going to look like for some individuals throughout the rest of the play. Play because one audience member is invited to come on stage and become the familiar family vet, but in a masterstroke of direction. And I'm obsessed with this. The dog is represented by an audience member's coat that is volunteered. Johnny will occasionally just ask out, does anyone have a pen? Does anyone have a coat? And the pen becomes the syringe and the coat becomes the dog. And that is such an utter piece of theatre. But it's also more than that. It is specifically two things more than that. And this is after, you know, the smart choice to recall this particular moment, moment in time, and to consider that for a lot of people, their first experience of grief is the loss of a pet. I still think about my goldfish. I mean, I don't every day, but I'm thinking about him now. RIP Goldie. I'm sorry I didn't give you a more inventive name. But back to the coat that is a dog. It's an almost pantomime dame level of joke when the audience member who is brought up as a participant is asked to sort of brutally take the pen and inject. I think it's barbiturates into the leg of the dog, which is just represented as a coat. And obviously, you know that this joke is going to come, but it's still so brilliant. And it's a great way of. I was about to say injecting horrible metaphor. It's a great way of introducing comedy into this emotionally difficult moment because Johnny invites them to say, when you're ready, please inject it into the leg. And wherever that audience member is about to put that pen, you know that Johnny is going to say, no, no, no, the leg, the leg. And imply that that was the head or the wrong part of the dog. But after the comedic charm of that moment comes a line about the life of this dog ending and this beloved family pet simply becoming an object. That is how it is put within the script. And at that point, the coat is unfurled and held like a coat, like an object, one that we all saw come into the space, but that we all believed together for a moment was a dog. Excellent. There's one line of dialogue that struck me so much that I wanted to write down during this sequence. I don't have a lot to say about it. I just want to share it with you. And it was. Was this. We have to imagine a future that is better than the past. That's what hope is. And it struck me as I was thinking about the list, that it's these brilliant things chronicled in this play that are the ingredients for hope and for that imagination. Now, the relationship to joy changes as our character gets older, but the relationship to grief also changes. And you would think initially that it would get easier it doesn't. Because there's a lot to be said for the childlike innocence and naivety. And even though as we get older, we have a better understanding of death. And of the world and its difficult realities. And of the things that people are going through. That are very difficult to explain to a child. But as the character notes at a later point in the play. The younger me had dealt with this so much better. And there is different emotional baggage. And complex layers of frustration and guilt and anxiety. That come into play. As our character continues their education. We arrive at some of the places play's most fascinating and astute musings. Which are about suicide and the way that it is talked about. And the way that it is presented in the media. And the way that it's written about in fiction. And the statistic that every time a suicide is reported as front page news. That there is subsequently a spike in people ending their life by suicide. And that it is, to a certain extent, because of this seemingly contagious. We're told that this is called the Werther Effect. And that there is a way. Way to responsibly depict suicide. Immediately, I was thinking back to that first line of the play. And what was said and what wasn't said. But also the way in which it was set and the way in which it was characterized. And there wasn't speculation about motivations. And there wasn't detrimental use of language. But also it was just spoken into the room as a reality. One that exists. And one that, in spite of how emotionally difficult it can be, isn't served by a stigma. And it covers a lot of terrific ground on that front. But it also doesn't stay focused on that idea. This becomes much more about the protagonist's own life. And this list of brilliant things that was initially created for their mother. Because it's so personal to them. They don't realize it straight away or even for some years. But even though this list might not have been for them, it innately represents them. And the action of wanting to share the list feels echoed in the later romantic scene. When we have these two young lovers sharing books with each other. And wanting to communicate joy and other more profound emotions to each other. In the same way that this young child wanted to give their mother a written list of life's brilliant things. Now you have these two young lovers wanting to share with each other. Pages and pages of stories and insights. Finally, the play, if you're seeing it in person rather than reading it on the page. Has one more dimension that I need to tell you about, and that is its relationship. Relationship to music. There is a euphoric inclusion of music in this show, and the character's relationship to music becomes the show's relationship to music, mirroring our relationship to music. It is celebratory, it is passionate, it is excitable. We stop the whole thing for a few moments just to listen together to a thrilling piece of percussion in the midst of a great record. And it's deeply cognizant, I think, of the power that music has and the involvement that it has to have in a story about the way that we find joy in life, and more so than joy, the way that we experience all of life's emotional possibilities. And our experience of an enjoyment of music is sort of inseparable from that. I think I could keep going on talking to you about this play, about this production, and I haven't ruled out the possibility that I might, if I get the chance to see one of these other, other performers. If you would like to hear my thoughts about their performances, then stay tuned. That might happen. Feel free to subscribe and turn on notifications here on YouTube or follow me on podcast platforms if you haven't already. But I am there going to conclude my thoughts about this stunning piece of theatre. Any sentence that I say now to wrap up the whole thing is just going to be an echo of a sentiment that I have shared before. But it is, to put it simply, a brilliant, brilliant, brilliant thing, and one that I hope that you have the chance to experience for yourself, either with this production currently running in London or with another elsewhere around the world. Thank you so much for listening to this review. I hope that you've enjoyed it for me has been a genuine delight sharing my passion about this play with you and I look forward to doing it with the next piece of theatre that I see. In the meantime, I hope, as always, that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a stagey day.
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Mickey Jo Theatre
Beth, you're in charge of ordering the tacos for the meeting today.
- [31:00]
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Yeah, I'm not gonna order the tacos.
- [31:02]
Robert Mays
Uh, what?
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- [31:11]
Mickey Jo Theatre
Nice.
- [31:12]
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- [31:15]
Mickey Jo Theatre
No, I'm going to easy mail them. Where's my music?
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Mickey Jo Theatre
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