- The refreshing scent of a freshly shredded pile of pine mulch.
- Strolling through the I-83 Farmer’s Market with my mother at 7:00am every Sunday morning from
April through December.
24,601. A cat that will sit on your yoga mat while you’re trying to do downward dog and meow loudly.
525,600. Live Theatre.
I never thought I’d ever have to include “live theatre” as one of the ‘brilliant things’ in my life; I never thought I’d live to see a time when it wasn’t just a given. It’s something that I think we’d all taken for granted right up until the global pandemic took it away from us. Now that it has returned (with a great many safety precautions in place), it absolutely makes my list of brilliant things. And I’m sure somewhere on the official list of Every Brilliant Thing, an evocative play by Duncan Macmillan and Johnny Donahoe, it’s there too. Single Carrot Theatre is taking this remarkable and moving piece of theatre on a community tour through select neighborhoods of Baltimore City (Roland Park, Guilford, Charles Village, Remington, Bolton Hill) during the month of September, which is National Suicide Awareness Month. Directed by Genevieve de Mahy and Paul Diem, this one-person* show is a poignant discovery about how to find the beauty in all facets of life. A cautionary CONTENT WARNING: while life-affirming and joyful, the play references mental health, suicide and methods, and the loss of a parent.
Every Brilliant Thing is a perfect name for the play; from the moment you arrive at the private residence (this production was held in the Roland Park neighborhood) to the moment you leave, pondering the profundity of the piece, there is brilliance all around. Environment Designer Mika Nakano has transformed a beautiful backyard landscape into an inviting theatrical space, with twinkle-lights inside the tent, comfortable chairs seated in the round, and an open model ‘ground’ space for the performer, which feels both social-distanced and safe while maintaining the integrity of an intimate performance. Sound Designer Heiko Spieker does a fine job of capturing the gritty, realistic sounds of old records, which are referenced frequently throughout the production, and presenting them at just the right level for the audience to hear above the ambiance of the neighborhood.
Prior to the show’s start, audience members are invited to take part in the story, filling out slips of paper to decorate the inside of the tent with things that are brilliant in their life. There are also two different information tables upon entry to the performance space, one with information about local partners and hotlines for more information and connection regarding suicide prevention and awareness; the other features buckets of colored beads, each identifying a type of loss relating to suicide. The audiences are invited, if they feel comfortable, to wear a beaded necklace that reflects their experiences with suicides. The overall atmosphere is informative, comforting, and inviting.
At this performance, Meghan Stanton is the tale’s narrator. And at the risk of sounding redundant, there is something truly brilliant about her performance. Stanton is candid and convivial; there is no trace of artifice or ‘acting’ occurring during the telling of the story. One of the most impressive feats of Stanton’s performance is in fact a technical note; there is never a moment where Stanton stands in any one position with her back to the audience for more than a brief second, which is critical when performing in the round. Stanton is consciously aware that there are audience members on all sides and does a superb job of addressing them equally.
Stanton carries the show’s transformative, joyful and life-affirming verve through crests and valleys of emotion. There are moments that easily evoke great sorrow, frustration, and other powerful non-happy emotions because of Stanton’s extraordinary delivery of the text. Such moments are readily tempered with great doses of humor, many of which come in the form of audience participation (whether it’s reading numbers from ‘the list’— which are handed out prior to the start of the performance— or having various audience members play the other characters, like Sam the future spouse and Mrs. P, a former and future counselor). Stanton breathes in the beat of every moment, filling out the story in a way that separates the character’s experience from that of being the narrative guide who invites audience members into their world. There is an undeniable and infectious bubbliness about Stanton during the more jubilant moments of the narrative. Stanton strikes the fine balance of keeping the show engaging, hopeful, and authentic, making it a moving, endearing experience for those watching.
As the script says, in order to live in the present you have to be able to imagine a future that is better than the past. Every Brilliant Thing is a production that helps you do exactly that. Meghan Stanton was extraordinary during her night of performance, there is no doubt that co-directors Genevieve de Mahy and Paul Diem have guided equally stunning performances out of the other two narrators, Lauren Erica Jackson and Matthew Shea. The show is a must-see for anyone everyone, especially those coping with suicide, both loss and attempts, in any capacity.
Running Time: Approximately 65 minutes with no intermission
Every Brilliant Thing, a Single Carrot Theatre production, plays through September 26, 2021 at various, privately disclosed venues around Baltimore City, MD. Tickets can be purchased in advance online. Masks and proof of vaccination are required to attend.
*The production features a rotating cast of three different narrators— Lauren Erica Jackson, Matthew Shea, Meghan Stanton, and upon selecting a date for purchase, the narrator performing that evening will be listed.
If you or someone you know is in crisis and needs immediate assistance please call one of these prevention hotlines:
National Suicide Prevention Lifeline— 1-800-273-TALK (8255)
The Crisis Text Line— (text TALK to 741741)
Baltimore Crisis Hotline— 410-433-5175
National Alliance on Mental Health Bmore Help Line— 410-435-2600
Grassroots Crisis Line— 410-531-6677
Maryland Youth Crisis— 1-800-422-0009
Trans Lifeline— 877-565-8860
House of Ruth Maryland— 410-889-RUTH (7884)
