Review: Apollinaire's 'Every Brilliant Thing' Sparkles with Warmth

Apollinaire Theatre Company's production of "Every Brilliant Thing" feels like an oasis of warmth in a cold Boston winter.

Written by Duncan MacMillan with Johnny Donahoe, the one-person show can be performed by just about anyone regardless of gender or cultural background. In the case of this production, the narrator is played on different dates by either Cristhian Mancinas-García (who also performs the play in Spanish on select dates) or Parker Jennings, who performs the play in English. (Jennings also appeared in Apollinaire's productions of "Touching the Void," "Suppliant Women," and "Lunch Bunch.")

The performance I saw featured Mancinas-García (most recently with Apollinaire for "Lunch Bunch"), performing in English and customizing the role of the narrator such that he has a Latino background.

Whoever's performing, the play's storyline and approach remain the same. The narrator recalls being seven years old and hearing the bad news of Mom's suicide attempt from Dad, who can only communicate the distressing news in halting degrees. In response, the child starts a list of "every brilliant thing" that makes life a pleasure and brightens sad times. As the narrator's life progresses to university days and then adulthood, the list resurfaces from time to time and is updated. Over the years the items on the list become more diverse, more playful, and more numerous – much more numerous, growing into the thousands. It becomes more than a running tally; the list serves as a refutation of hopelessness, and a reminder that while life can be tough, it's also brimming with loveliness and joy, if you know how and where to look.

"Every Brilliant Thing" is a play built around audience participation. Before the performance I attended, Mancinas-García circulated around the performance space handing out what seemed like dozens of notecards with lines written out, asking audience members if they would like to shout out the lines when prompted. Many of the lines were simple additions to the list of brilliant things: "The color yellow," "Even-numbered Star Trek movies." On occasion, audience members played more substantial parts; one man filled in for Dad in a couple of moments, including a flashback that happened one way but, in the narrator's preferred recollection, played out much differently. A woman in the audience played the dual roles of a therapist and a sock puppet.

Audience participation can be an awkward, forced thing; not here. Mancinas-García has a gift for putting people at ease, and his charisma flowed throughout the performance. The space is set up in the round, with chairs and couches providing the seating, but audience members are also seated well within the performance space, making us an essential part of the play. In this context, and with the comfortable array of couches, end tables, and lamps turning the space into something that feels like a friend's living room, the participatory aspect feels natural and fun. (Kudos to set designer Joseph Lark-Riley, who also does the sound.)

Not that mental health is something to be taken lightly, and the play has serious, poignant undercurrents. But it doesn't overwhelm or browbeat; its serious underpinnings are well balanced with heart and charm. "Every Brilliant Thing" has deservedly garnered international acclaim for its humor and compassion.

Running only about 75 minutes, it's a play that doesn't waste any time, but also doesn't feel hurried or unfinished. Rather, it has a sustaining quality, one that enriches, and director Danielle Fauteux Jacques (also responsible for the lighting design) guides this production with expertise.

"Every Brilliant Thing" continues through Jan. 19 at at the Chelsea Theatre Works, 189 Winnisimmet St., Chelsea. For tickets and more information, follow this link.