Review 'Every Brilliant Thing' at Hope Summer Repertory Theatre

At its worst, the demon of depression would tell me that my family would be better off without me. When I expressed that sentiment to my therapist, she told me in no uncertain terms that the children of parents who die by suicide never recover. It was a statement that would save my life as I could not bear to put that burden on my son.

“Every Brilliant Thing,” which Hope Summer Repertory Theatre (HSRT) has been producing this summer, explores the effect of a mother’s depression on her son—of what his life is like because of the physical, chemical, and emotional changes wrought upon him by a distant mother.

When a mother is hospitalized after a suicide attempt, her 6-year old son starts making a list of things worth living for—things in life that are brilliant. The list started with “ice cream” and would grow throughout his life until it reached a million. The audience-participation one-person show displayed in poignant ways how the mother’s depression continued to affect her son throughout his life in ways both expected and unexpected.

The part of the son is played by Lenny Banovez, the company’s artistic director. Before the show, he and Assistant Stage Manager Jenna Keefer wander through the audience, talking to people and handing out laminated cards that contained a number and one of the brilliant things on the list. While that could have been done at the check-in table, Banovez used that time to evaluate which audience members would be good to call upon during the show and to ensure that participants were spread throughout the audience.

There is a fair amount of improvisation during this show as it relies a lot on audience participation. In addition to calling out the brilliant things, Banovez would bring audience members on stage to play such roles as a veterinarian, his father, a guidance counselor and his girlfriend. Much of the time, he gives them either scripts or easy roles to play, at other times he calls upon them to do their own acts of improv.

Part of the brilliance of Banovez’ performance in this show is that he almost fools you into thinking he is not acting. He comes across as a narrator and storyteller, someone who is always speaking directly to the audience and ensuring there is never a wall between them. It is easy to forget that he is a “character,” and instead presents as someone who is simply sharing his life’s story.

Duncan MacMillan’s “Every Brilliant Thing” is often promoted as the funniest play you’ll ever see about depression. And the show is a comedy, but it is a gentle one, one with warm laughter but not unbridled hilarity. Director Laura Gordon makes sure the show never loses its connection with the audience, never loses its connection to reality.

“Every Brilliant Thing” also charts its own course and stays intensely focused. While such musicals as “Next to Normal” centers the mother and her mental illness, “Every Brilliant Thing” keeps the mother in the background and spotlights the effect the disease has on others. In fact, the mother is the one person in this show who is very nearly silent. No audience member ever portrays her, no explanation is given for her illness nor is it said what treatments she may or may not be receiving. She is neither condemned nor excused.

While there is only one actor on the stage, the technical crew plays an important part of this productions, sometimes directly communicating with Banovez as he performs or coming out on stage to set things for participants.

Keefer appears at Banovez’ side as he calls for assistance to tell the story. She is, as one might expect from a stage manager, calm, efficient and collected. Her contributions keep up the show’s pace while never interrupting the action or inserting herself into the story.

Properties Designer Lucy Mott has essential contributions as her props often must provide direction and scripts for audience members on items that look realistic and “normal.” She also had to find period pieces such as a turntable and vinyl record covers.

One of the benefits of outdoor theater is that the action can break the typical stage walls and move out into the audience space, often setting up entrances and exits that enable actors to move through the audience. “Every Brilliant Thing” is the show so far this season that most takes advantage of this ability. Gordon’s direction acknowledges this is an outdoor show and conducts it accordingly.

“Every Brilliant Thing” earns its place as one more touching, wonderful show in HSRT’s 49th season. After many rain-outs, the show persists and survives just as its main character manages to do despite the storm cloud of parental depression that follows him and often soaks him with rainstorms.