‘Every Brilliant Thing’. Written by Duncan Macmillan with Johnny Donahoe. Directed by Danielle Fauteux Jacques. Scenic and Sound Design by Joseph Lark-Riley. Lighting Design by Danielle Fauteux Jacques. Produced by Apollinaire Theatre Company at Chelsea Theatre Works, 189 Winnisimmet St, Chelsea, MA through January 19th.
By Charlotte Snow
Can times really be that ‘unprecedented’ when more and more different kinds of ‘unprecedented’ actions and events appear time and time again? It’s a question that I have been asking myself repeatedly with the turning of the new year (and admittedly with the overturning of the old administration). It’s been far too easy for all of the negative thoughts about the world and one’s place in it to form a snowball of anxiety that grows in speed and size as it hurtles downward.
Therefore, in a rather genius stroke of inspiration from artistic director Danielle Fauteux Jacques, Apollinaire Theatre Company counterprograms the increasing dread with Every Brilliant Thing, a one-person play about the creation of a list about, well… every brilliant thing. British playwright Duncan Macmillan, with contributions from Johnny Donahoe, debuted this meta-theatrical one-person play at the Edinburgh Fringe Festival in 2014, where it became a stand-out due to the simplicity of the story and utilization of audience participation. Later that same year, they transferred the Fringe hit to play off-Broadway.
The creators insist that the play be performed in the round with the house lights up during the entirety of the show so audience members can observe companion audience members and their reactions to the performer and dialogue. Apollinaire Theatre Company takes that fun challenge in full stride. If you’re looking for a production with the bells and whistles of a typical mainstage production, you may be a bit disappointed. The design components are cozy and atmospheric but not at all flashy, but they don’t need to be. The script and the magic of the audience’s reaction/participation are at the heart of this piece, and it’s potentially a double-edged sword.
Thankfully, Parker Jennings and Cristhian Mancinas-García are two of the Boston theatre scene’s strongest actors. Mancinas-García played the role of narrator on the night I was in attendance, and I was spellbound. He immediately wins over the crowd with his effortless charm and genuine warmth while still committing to the heavier, high-stakes moments his character endures. It’s a daunting task, but he handles the story with ease and grace.
The performance follows our narrator, who, at a young age, begins constructing a list of every brilliant thing they can think of in an effort to prevent their mother from attempting suicide again. As the narrator matures and moves throughout their life, the list lengthens, evolves, and complexifies. It’s a simple story that finds its power in life’s liminal moments. Please note that there is a heavy dose of audience participation. Most of the audience is relegated to reading one of the brilliant things off a slip of paper that gets handed out pre-show. However, there are a few recurring roles that require a bit more improvisation. Thankfully, these bits are led by the performer, so you’re never alone onstage or without easy-to-follow instruction. If you find yourself squeamish about audience participation, I’d follow Seaworld rules. If you want to be at the splash zone, sit up at the front. If you prefer to stay dry, sit in the back.
Going in with little to no knowledge about the play, I was beyond captivated. I would definitely recommend going in as blind as possible since the runtime of this play is seventy minutes, and every minute thrives off spontaneity and the unknown. I personally love meta-theatre and am excited by the genre’s zigs, zags, and broken rules of theatre that reassemble themselves into something beautiful. If you prefer your plays to be a bit more traditional, this may not be your show.
By the end, I was in tears. It had me crying from heartache, sorrow, remorse, pity, and most strangely of all… joy. This play and production is a triumph and testament to fiercely holding onto the best, even in the worst of times. During the next few years, I’ll definitely be holding on to ‘Every Brilliant Thing.’For more information and tickets, visit https://www.apollinairetheatre.com