The concept of gratitude journaling has been around for a while, but in the one-man play Every Brilliant Thing<\/em>, it’s referred to as "a list of all things for which it is worth being worth living". This list includes simple things like "ice cream" and "staying up late to watch TV", which are meant to cheer up the narrator’s mother after a suicide attempt. As the narrator grows older, with the help of the audience, the list expands to include more complex and thought-provoking items.<\/p>\n Duncan MacMillan’s play has become a global hit since its debut at the Edinburgh Fringe 11 years ago, performed in over 80 countries. This year, it’s being performed in the West End at Soho Place, with Lenny Henry taking on the solo role. The play’s unique format, which involves rapid changes between the narrator’s life story and the developing list, has contributed to its success. The audience is invited to participate by reading out items from the list, which adds a charming and relatable touch to the performance.<\/p>\n Despite dealing with a serious topic like suicide, the play has a surprisingly light tone, thanks to Lenny Henry’s energetic and exuberant performance. However, at times, his star power threatens to overwhelm the show, and the audience’s giggles and participation can feel a bit cumbersome. Nevertheless, it’s touching to see how the audience laughs at the narrator’s plans to play certain characters, only to falter when something unexpected and sad happens. This is what makes Every Brilliant Thing<\/em> feel like a safe and inviting way to explore a serious topic with humor.<\/p>\n When the play was first staged over a decade ago, it was an effective tool for talking about suicide and mental health. However, in 2025, it feels somewhat outdated. The play’s message, "Don’t do it", feels like a simplistic solution to a complex problem. The culture has shifted significantly in the past decade, and the awareness of mental health has been co-opted by brands, making the play’s approach feel somewhat non-specific and clich\u00e9d. The piece also fails to examine the narrator’s mother’s experiences or the impact of her struggles on the narrator’s life, which feels like a missed opportunity.<\/p>\n Despite its limitations, Every Brilliant Thing<\/em> is a lovable and thought-provoking play that explores a serious topic with humor. If you’re experiencing difficulties or struggling with mental health, there are resources available to help. In the UK, you can contact the Samaritans at 116 123 or visit their website. In the US, you can call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255). For those in other countries, you can find a helpline near you at Befrienders.org. Every Brilliant Thing<\/em> is playing at Soho Place until November 8th, and tickets are available online.<\/p>\n","protected":false},"excerpt":{"rendered":" Introduction to a Unique Perspective The concept of gratitude journaling has been around for a while, but in the one-man play Every Brilliant Thing, it’s referred to as "a list of all things for which it is worth being worth living". This list includes simple things like "ice cream" and "staying up late to watch<\/p>\n","protected":false},"author":1,"featured_media":18825,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[],"class_list":{"0":"post-18824","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment"},"_links":{"self":[{"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/posts\/18824","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/comments?post=18824"}],"version-history":[{"count":1,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/posts\/18824\/revisions"}],"predecessor-version":[{"id":18826,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/posts\/18824\/revisions\/18826"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/media\/18825"}],"wp:attachment":[{"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/media?parent=18824"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/categories?post=18824"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nanamedia.org\/en\/wp-json\/wp\/v2\/tags?post=18824"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}The Play’s History and Impact<\/h2>\n
Tone and Star Power<\/h2>\n
Limitations and Criticisms<\/h2>\n
Conclusion and Resources<\/h2>\n