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| Alexander Strain Photo: Stan Barouh |
When one attends the theater
with the hope of experiencing some laughter to escape from everyday problems,
the last thing you would expect is a play whose underlying theme is depression
and suicide. Yet, Every Brilliant Thing, a play by Duncan Macmillan with Jonny
Donahoe, manages to pull that off.
Olney Theatre Center’s artistic
director Jason Loewith directed this unusual one-man performance starring
Alexander Strain that is currently playing in the black box Mulitz-Gudelsky
Theatre Lab at Olney. The intimate
theater is set up with four audience seating sections surrounding a small stage
that had, inexplicably, a bunch of Oriental rugs spread on the floor. #hocoarts
But is it really a one-man show
as advertised? Well, it is if you
discount the dozens of audience members who, prior to the show, received directly
from the lead performer pieces of paper and other items containing a numerical
cue and text with which to participate throughout the play. These folks either shout out an item from a
list of brilliant things in the world or briefly play a character.
That list had been devised by a
boy beginning at age seven after learning of his mother’s attempted suicide.
Through the narration by Mr. Strain, we find out that the purpose of the list
is to demonstrate that with all the wonders and joys in the world enumerated on
it, life is worth living.
It starts out with childish ideas,
such as ice cream and staying up past bedtime.
Then as the play progresses, Mr. Strain moves through adolescence and
young adulthood where he adds items.
Peeing in the ocean where nobody will know is such an entry. Falling in love is another. So is waking up next to someone. Even “The
prospect of dressing up as a Mexican wrestler”—my assigned line—was included as
number 777,777.
On and on it goes with audience
members reeling off another item. Ultimately he succeeds to form a list nearing
the million mark—verbally skipping hundreds of thousands, of course—since it is
only a one-hour play.
Yet, it is Mr. Strain, a
multiple Helen Hayes Award nominee and one-time Helen Hayes winner, who works
with the audience, partly through improvisational quips, that makes the
performance so entertaining and sturdy.
Audience members play such roles as a veterinarian who is asked to
euthanize the boy’s dog; a teacher who takes her shoe and sock off to create a
sock puppet; his father; and his girlfriend then later wife.
Mr. Strain’s fast-on-his feet
retorts and ad libs along with his entering all four sections of the audience
at one time or another create a cabaret atmosphere, what with the in-the-round
set and the audience involvement. He
exudes warmth, charm and sincerity to augment his well-timed humorous lines
while also exhibiting the sorrow his character feels throughout his life to
this point. Adding to the superlative performance is Mr. Strain’s high level of
energy that provides much action and movement on the stage.
Sprinkled throughout are bits
and pieces of music that had an impact on his life adeptly handled by sound
designers Jane Behre and Ryan Gravett.
Let’s hand out praise to those
audience members who played these characters the evening the play was
reviewed. They’re not actors but seemed
to emit the needed pathos when called upon and were convincing. The rest of the audience was appreciative.
Each performance will bring in a new “supporting cast,” which will add a
dimension of unpredictability.
Interwoven with the comical
features, however, is the reality of mental illness, depression and suicide
attempts and how these can affect a family and one’s view of the world and life
itself.
It is during a conversation with
his father (Mr. Strain portrayed the father, and an audience member played him
as a seven year-old) whereby through a series of “why” questions, the youngster
learns from his father his mother’s unhappiness and eventual attempt to hurt
herself. This segment is the most
compelling, emotional, gut-wrenching part of the play.
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| Photo: Stan Barouh |
Noting the sensitivity of the
subject matter, the theater’s program contains a page devoted to suicide
prevention including a list of resources to consult if an audience member or
someone he or she knows is suffering from suicidal thoughts.
But the heaviness of the subject
matter does not linger too long as the list continues to be divulged with
Duncan Macmillan’s witty words and Mr. Strain’s frolicking delivery creating
the needed balance.
The short play scampers along at
a brisk, somewhat frenetic pace. It is a
unique presentation on many levels, and
it is moving as well as entertaining.
You should definitely put Every Brilliant Thing on your own list
of things to do.
Running Time. One hour with no
intermission.
Advisory: Every Brilliant Thing contains adult subject matter and is not suitable
for children under age 13.
Every Brilliant Thing
runs through April 1 at the Mulitz-Gudelsky Theatre Lab, Olney Theatre Center,
2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by
calling 301-924-3400 or by visiting online .
________________________________________________________________________________
Olney
Theatre Center’s 2018-19 Season
SOUTH PACIFIC
Music by Richard Rodgers •
Lyrics by Oscar Hammerstein II • Book by Oscar Hammerstein II and Joshua Logan
• Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by
James A. Michener • Music Direction by Kristen Rosenfeld • Choreography by
Darren Lee • Directed by Alan Muraoka
AUGUST 31 - OCTOBER 7, 2018 •
MAINSTAGE
________________________________
LABOUR OF LOVE
A comedy by James Graham •
Directed by Leora Morris
SEPTEMBER 26 - OCTOBER 28,
2018 • MULITZ-GUDELSKY THEATRE LAB
________________________________
ELF THE MUSICAL
Book by Thomas Meehan and Bob
Martin • Music by Matthew Sklar • Lyrics by Chad Beguelin • Based on the New
Line Cinema film by David Berenbaum • Music Direction by Angie Benson •
Choreography by Tara Jeanne Vallee • Directed by Michael Bobbitt
NOVEMBER 9, 2018 - JANUARY 6,
2019 • MAINSTAGE
________________________________
ONCE
Book by Enda Walsh • Music
and Lyrics by Glen Hansard and Markéta Irglová • Based on the motion picture
written and directed by John Carney • Music Direction by Christopher Youstra •
Directed and Choreographed by Marcia M. Dodge
FEBRUARY 6 - MARCH 10, 2019 •
MAINSTAGE
________________________________
OIL
By Ella Hickson • Directed by
Tracy Brigden
FEBRUARY 27 - MARCH 31, 2019
• MULITZ-GUDELSKY THEATRE LAB
________________________________
A COMEDY OF TENORS
By Ken Ludwig • Directed by
Jason King Jones
APRIL 10 - MAY 12, 2019 •
MAINSTAGE
________________________________
THE MARY STUART PROJECT
Based on the play by
Friedrich Schiller • Adapted by Jason Loewith and the company • Directed by
Jason Loewith
MAY 8 - JUNE 9, 2019 •
MULITZ-GUDELSKY THEATRE LAB
________________________________
ROALD'S DAHL MATILDA THE MUSICAL
Book by Dennis Kelly • Music
and Lyrics by Tim Minchin
JUNE 21 - JULY 21, 2019 •
MAINSTAGE
________________________________
TIGER STYLE!
By Mike Lew
JULY 17 - AUGUST 18, 2019 •
MULITZ-GUDELSKY THEATRE LAB
Ms. Gonzalez has been frequently
referred to as a “skinhead lesbian,” and the extreme right has been doctoring
photos on social media to present her ripping up the Constitution when in
fact, it was a paper target. (see image at Right comparing the two.)
