It has been eleven years since the play “Every Brilliant Thing” penned by Duncan Macmillan with Jonny Donahoe, opened Off Broadway at the intimate 199 seat Barrow Street Theatre in New York. The relatively unknown British comedian, Mr. Donahoe, also performed the solo piece which was based on his experience dealing with his mother’s and his own depression. After several attempts his mother was finally successful in taking her own life. The theatrical piece is interactive, using several members of the audience to portray important characters during this difficult journey. The title comes from a coping mechanism that he devised, by making a list of “Every Brilliant Thing” that was worth living for, to try and help his mother combat her battle with this mental disorder. Before the storytelling begins Mr. Donahoe roams around the audience, handing out numbered cards with brilliant things and events written on them. During the story he randomly calls out a number and the audience member with the corresponding number shouts out what is on the card. The intention is to draw the participants inward in order to become part of the experience. A monologue sporadically segues into dialogue as members of the audience are asked to represent supportive and encouraging people that help him through difficult times. The script is only as good as the actor’s ability to be emotionally articulate, while casting a comfort over the audience that results in trust, security and compassion.

The present production has transferred the product to the 970 seat Hudson Theatre, and the internationally famous Daniel Radcliffe has taken over the role of the storyteller. The problem that is immediately evident as Mr. Radcliffe scours the theatre, trying carefully to distribute the numbered cards to audience members, is that the odds are not in his favor: 1 against 970. People seek him out thirsting for a simple greeting, handshake or opportunity to let him know how much they love his work. It is clear many of the theatergoers are most likely there in hopes of interacting with Daniel Radcliffe. Acuity and affability are not the problem, but as inspired and cooperative an audience member may be, when the time comes to share a Broadway stage with someone you idolize, nerves and intimidation may interfere with the moment. The cavernous theatre does not lend itself to the intimacy that the structure of the play needs to be successful. The electricity buzzing in the audience is far more powerful than what is produced on the stage and the two never seem to meld to create something stronger. Even the attempt that Mr. Radcliffe makes to sprint around the theatre high fiving audience members during a disco segment, leaves him completely out of breath, hindering the execution of the following scene.

Directors Jeremy Herrin and Duncan Macmillan should realize that the preshow activity reduces the suspension of disbelief, rather than contributes to the impact of an intimate performance. This is not the fault of Mr. Radcliffe who works as hard as he can, exhibiting relentless energy as he tries to create an inclusive environment. The audience seems to take control, turning humor that is meant to break the tension and provide comfort, into a performance rather than a sharing. Being familiar with the product and having seen the taped performance by Mr. Donahoe at the Barrow Street theatre, I was hesitant about the large venue but was hopeful that I would connect emotionally to the material. Leaving the theatre, I felt somewhat like I had just viewed a public service announcement to prevent suicide but was glad to have seen Daniel Radcliffe relay the message. Mr. Radcliffe should be included as one of the “Brilliant Things”, for bringing so much joy to so many, but another “Brilliant Thing”, would be seeing him share this story in a small intimate theatre where his talent and craft could be fully appreciated.