Review of ‘Every Brilliant Thing’: “Minnie Driver shines like a beacon of hope following lacklustre performance”

Continuing its roster of celebrity performers, the production concludes its run with this last takeover, starring Minnie Driver until its closure in mid-November. Guillermo Nazara shares his views on the show to let us know if its life-affirming narrative still has a pulse on stage.

If there’s something that experience has taught me over the years, that would be how dangerous it is to revisit a show you’ve already reviewed in the past. Maybe it’s the lack of novelty, or maybe it’s just my effete spirit growing larger, but the prospects of leaving the theatre struck by the same sense of wonder are as sound as Will Smith’s self-control skills.

And so, things were not looking great for Every Brilliant Thing, whose glittering title could not disguise Lenny Henry’s complete lack of sparkle in his last summer performance. Everyone deserves a second chance — but maybe some other time. However, I was curious to see how the play could work with a new set of eyes. Same story, same text, same direction. But perhaps, a separate journey could still unfold. And even if it didn’t, its driver was strong enough to drag me back in.

For those unfamiliar with the piece (shame on you for not reading my previous article), its themes are no laughing matter. However, you will be roaring from start to finish. And you will be reflecting in piercing silence when the moment comes. It’s incredibly difficult to explore a subject as painful and concerning as suicide. To do it in a playful tone without sweeping out or, at least, eroding its gravitas is an act of heroism. And in that department, Duncan McMillan has proved himself worthy of that mission, but it’s taken Minnie’s high-flying rendition to make me come to that realization.

There are significant differences between Driver and Henry’s take, all of which come across as massive improvements. The internalization that Driver makes of her character pours through almost from the beginning. Jeremy Herrin and MacMillan’s direction does not call for anything over-the-top, but Henry seemed to follow that guideline to the very last letter, resulting in an excessively subdued and disengaging execution.

In contrast, Driver’s portrayal flaunts everything the role requires to land. There’s forbearance, but its explosive underscore of emotional turmoil continues to play along. There’s a casual, uncaring essence to her approach. Yet, we can easily appreciate it as one of the protagonist’s coping mechanisms. Analogously, all the elements come together in perfect unison, regaling viewers with a powerhouse portrayal of a powerless but fiercely resilient character.

The staging’s heavy reliance on audience participation is another key contributor to the show’s standout quality — and so is the performer’s handling of it. Once again, Driver demonstrates an excellent aptitude for interaction and improvisation. Every excerpt she spends next to a “randomly chosen” spectator (watch out where you book your tickets) brims with warmth. And yet, she will pull no punches at roasting them (sometimes beyond the script) in a most charming, enjoyable way — especially for those who are looking.

It’s extraordinary how one person can change your entire view about something. What, back in August, felt like a rushed and slightly underdeveloped narrative now came off as flawlessly paced — joyful and amusing at the right spots, and overflowing with heart-wrenching pathos every time it climaxed. A list of those little but grand things in life was the lead’s method of escapism from her mother’s repeated suicide attempts. Surely, this last version of the piece should make it to anyone’s October-November must-watch list. And if you see me in their Instagram promotional video saying that having the tube all to yourself is one of those things, I withdraw my statement — I know that, instead, I should have said “any quote by Philomena Cunk.”

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All pictures credit to Danny Kaan / ArenaPAL.

Every Brilliant Thing plays at London’s Soho Place Theatre until 8 November. Tickets are available on the following link.

By Guillermo Nazara