Displaying items by tag: Duncan Macmillan

“Every Brilliant Thing,” places unusual demands on its lead character, Narrator. Jessie Fisher delivers a carefully calibrated performance from a comedic script that is deceivingly simple, but deeply emotional and upon reading it afterward, I saw that it is beautifully structured, as well. 

Fisher is the center of our attention in this 70 minute monologue that evokes the gamut of emotions—at times poignant and tearful, at others boisterously funny. She relates a sampling of thoughts of people, places and things intended to capture life’s happy and satisfying moments. This was Narrator's lifelong quest, begun in childhood, to stave off her mother’s suicidal tendencies by coaxing her to dwell on the brighter side of things.

In this demanding role, Fisher must be onstage 30 minutes before the “curtain” rises formally, welcoming each audience member with numbered slips of paper, each bearing a charming thought evoking joy: 1. Ice Cream. 2. Water fights. 3. Staying up past your bedtime and being allowed to watch TV. In the course of the performance, we are each called upon to read aloud the item we received. (My companion had #1654: "Christopher Walken's voice." mine was #1655: "Christopher Walken's hair.")

Fisher also eyes the incoming ticket holders as potential stagemates, and several will be called from their seats to play an array of characters from her life: a school counselor, a lecturer, a veterinarian, her father, her spouse, even herself, at one point. As the formal show begins, Fisher narrates the story of her life, and calls on these individuals and others, and all of us eventually, to voice items from the list, or to play the bigger roles. She becomes both actor, and director, and we are transformed from spectators to players, the fourth wall continuously dissolved in this unusual play.

So reliant on the audience is “Every Brilliant Thing,” that each performance varies significantly—yet reading the script afterward, things that I imagined must have been spontaneous or ad libbed, are in fact detailed by the British playwright Duncan Macmillan (with comedian Jonny Donahoe, who played Narrator in the original productions in London and New York). Director Kimberly Senior has guided Fisher to a remarkable performance that is deceivingly natural and immensely convincing. I had a chance to see “Every Brilliant Thing” a couple years ago at WIndy City Playhouse, and this production, in Writers Theatre's more intimate Gillian space is every bit as good as that one.

We see Narrator through stages of her life, in college, getting engaged, married, divorced—all the while growing and maintaining this list of “brilliant things” that make life worth living. In her earlier life, she shared it with her mother, but it made little impact on her. The audience members are cued to read their assigned thoughts by number. As she courses through life, Narrator’s list grows into the tens of thousands, and hundreds of thousands, deepening in complexity. The pace of Narrator's recitation of brilliant things hastens, and she recites many of them herself.

We see that ultimately, this list is for the Narrator, a lifeline to which she clings as a vision of a happier life. 

 “Every Brilliant Thing” runs through January 5, 2025 at Writers Theatre in Glencoe, IL, and comes highly recommended. 

When you arrive at Windy City Playhouse South for Every Brilliant Thing, you will be ushered into an elevator and emerge at the third floor loft theater entrance.

There a young woman greets you at a display case. Somehow, she seems to be in character already. In fact you will soon learn that this is not the house staff, but an actor, Rebecca Spence, and she is indeed already performing her role as Narrator. But Spence does much more than play this demanding role, one that stretches the definition of scripted performance.

Watching Spence (and unfamiliar with the play) I left completely convinced she had authored Every Brilliant Thing as a performance piece based on her own life. In fact, Every Brilliant Thing, written in 1984 by British playwright Duncan Macmillan, had a successful Broadway run, and was filmed for HBO.

It tells the story of a young adult (it has been played by men and women) whose mother veered into deep depressive episodes, eventually taking her own life. To contend with this, Narrator – who relates tales from elementary school, high school, college and adulthood – sought to create uplifting lists of “every brilliant thing” (puppies, rainbows, songs by Sarah Vaughan, etc.).

As a schoolgirl Narrator offered her first list of 300 items to boost her mother's spirits. As Narrator ages, the list grows from hundreds to thousands, and includes age-appropriate items. Eventually we realize she is keeping the list as her own coping mechanism to fend off adversity, as when her mother meets her end, or when Narrator's husband leaves her.

In keeping with Windy City Playhouse's immersive theatrics, Every Brilliant Thing has the Narrator involve the audience, choosing for each a “brilliant thing” from a collection in the display case that she deems is suitable to them. Seated in black leather club chairs, the each person is called on to read a word, phrase or long descriptor when Narrator calls out an associated number attached to the object they hold.

But Narrator goes even further – designating audience members to play key roles in the show, sometimes they follow her lead by reciting lines she dictates. Spence showed great insight in her selections of audience performers to play characters that Narrator met along her life’s path: a veterinarian, her father, a high school counselor, a girlfriend, a young man whom she marries and separates from.

That last one, a good looking dark haired man, gamely played through flirtatious library encounters, betrothal, wedding, and separation. The audience performer who played the high school counselor who good naturedly removed his shoe to turn his sock to a hand puppet - which he named "Trouble" to the delight of Spence and the audience.

Despite the dynamically constructed script, Every Brilliant Thing manages to have a dramatic arc, and a poignant storyline with touching moments, and a bottom line. "It occurred to me how much the list changed how I see the world along the way," says the Narrator.

With director Jessica Fisch, and the properties designer Eric Backus, Spence must be given great credit for managing the audience member performances. Given the ups and downs of attendance, it's hard to predict exactly what your experience of Every Brilliant Thing will be like - but with Spence in this role, I bet it will be good. Every Brilliant Thing runs through December 15 at Windy City Playhouse South in the Automobile Row District, 2229 S. Michigan Avenue in Chicago.