I’m calling it. Belvoir’s Every Brilliant Thing is the most brilliant thing we’ll see in Sydney theatres in 2019. It is a stunning marriage of incredible writing by Duncan Macmillan and Kate Mulvany’s immense storytelling talent and comic ability.
A child’s simple concept of writing down every brilliant thing in her life after a family tragedy becomes a lifelong journey of acknowledging the good through the bad, the light in the shadows.
Mulvany’s performance is staggering. Her searing comedy and spontaneous wit intertwine with breathtaking stillness, depth and nuance. Mulvany’s ability to play with her audience is second to none, and we’re in the palm of her hand before we even sit down. The show becomes, through various means, a conversation between performer and audience. She calls on us for answers and items, but she also calls on us for help, love and trust. Mulvany inspires this trust, and it doesn’t take much before we are willing to give it all, without hesitation.
Director Kate Champion and the creative team have transformed Belvoir’s upstairs theatre to an in-the-round configuration, and it’s the perfect setup to establish the circle of trust that Macmillan’s play requires. Champion directs with a deft but open hand, allowing Mulvany’s creativity to shine while keeping it from becoming too forced.
Technically the show is simple, with house lights staying up and minimal sound interjections (from designer Steve Francis). There really is a sense of community here, and the interaction between audience and performer only strengthens the bond.
Not only is it moving and poignant and so, so funny – it is important. As awareness grows and conversation builds around mental health and mental illness, this production is so important. As Mulvany says in her performer’s notes, it’s “an honest, communal conversation between friends.” And sometimes that’s all we need…a reminder that there are open hearts and ears and minds and arms to listen and talk and embrace if we need.
The performance will be different every night, with new audience members and new reactions for Mulvany to play with. But at its heart it will remain the same – a raw, heartfelt, sensitive, poignant, funny, important conversation about suicide.
Beg, borrow or steal a ticket.
Alana Kaye, Theatre Now
