Cristhian Mancinas-García as the Narrator. Photo by Apollinaire Theatre.

Presented by Apollinaire Theatre Company
By Duncan Macmillan
With Jonny Donahoe
Directed by Danielle Fauteux Jacques
Scenic & Sound Design: Joseph Lark-Riley
Lighting Design: Danielle Fauteux Jacques
Stage Manager: Kaleb Perez
ASMs: Miguel Dominguez, Max Wanty

Dec. 27, 2024-Jan. 19, 2025
Performances Featuring Parker Jennings: Sat. 12/28, 1/4, 1/11, 1/18, Sun. 1/5, 1/19
Performances Featuring Cristhian Mancinas-García performing in English: Fri. Dec. 27, Sun. Dec. 29, Sun. Jan. 12, Sat. Jan 18 at 3:00
Featuring Cristhian Mancinas-García performing in Spanish: Fri. Jan 10, 17
Chelsea Theatre Works
189 Winnisimmet Street
Chelsea, MA 02150

Critique by Kitty Drexel

CHELSEA, Mass. — Every Brilliant Thing is currently in production at Chelsea Theatre Works by Apollinaire Theatre. It was last produced in the Boston area by SpeakEasy Stage in March 2018.  Adrianne Krstansky played the Narrator to the delight of the theatregoing population. The New England Theatre Geek review of that production is here. 

 It’s been many years and an entire pandemic since Massachusetts audiences last saw this play. While it is a play one never forgets and SpeakEasy’s production with Krstansky in the lead was memorable for its touching interpretation, it was not a monolith. There is room for alternative interpretations of Every Brilliant Thing. Sometimes, the most tender productions are intimate with a smaller impression. Apollinaire is one such production. 

Apollinaire’s Every Brilliant Thing is nestled in the third-floor black box theatre in Chelsea Theatre Works. After collecting one’s ticket (and adult beverage, if that’s your thing) from the hosts at the bar, patrons enter the performance space under white house lights as Big Band jazz classics tickle the ear. Our hosts told us, “All seating in the theatre is audience seating.” This means the black plastic chairs on risers, the velvet cushioned dining chairs and the loudly-patterned couches with pillows are intended for audience butts, too. We weren’t late but weren’t early so the couches were taken by other patrons. Get there early if your heart is set on couch surfing.  

Joseph Lark-Riley’s set and sound design invite the audience to get comfortable in the space, to maybe let down their guard: There are end tables next to the couches with lamps and tchotchkes; worn rugs lay across the center of the floor and along the walking paths to our seats. We’re seated in the round and can see each other getting comfortable. This matters because we’ll be able to see each other through the play’s ups and downs. 

It feels as if Apollinaire has invited us into their living room for a friendly discussion. As we got settled in our seats and with each other, our Narrator (Cristhian Mancinas-García performing in English) greeted each attendee personally with a large smile. He asked us for a favor, would we be willing to assist him during the production? We said yes. We love participatory theatre and, what’s more, Mancinas-García is so earnest that he’s hard to say no to. But, had we decided against participating, I think Mancinas-García would have been just as courteous. He handed us numbered, laminated slips of paper to read aloud during the play at his prompting. 

A Note: Attendees should participate according to their whims but, please know, that participation enhances the intimacy of the production. Every Brilliant Thing is about fighting depression through acts of spiritual generosity and brave community building. In addition to cold reading lines, the Narrator asks the audience to play characters opposite him. We meet his dad, a teacher and a love interest because benevolent audience members take a stab at improv acting. It’s endearing and, since we’re in the round, we get to watch each other react to each other’s charitable risks. How lovely to spend 70 minutes finding joy with strangers!  

Cristhian Mancinas-García  and Parker Jennings. Photo by Apollinaire Theatre.

After Mancinas-García greeted all attendees and handed out all of the slips of paper, he started the performance. He had a rough start. Not every patron recognized Mancinas-García as the Narrator; they weren’t used to interacting with an actor ahead of a show’s start. It took several calls for attention and some subtle help from the assistant stage manager and other patrons (who happened to be actors) to wrangle all eyes to Mancinas-García. Every Brilliant Thing isn’t traditional theatre and, unless one is a regular attendee, it can be difficult to know when the pre-show ends and the performance begins. And, because it took Mancinas-García a moment or three to grab everyone’s attention, it took slightly longer for him to establish his presence and command the stage but, once he had our attention, Mancinas-García kept it for the duration of the play. He has kind eyes and tells this story with sincerity and infectious excitement.  

Every Brilliant Thing is easy to love if you enjoy fourth-wall-breaking metatheatre. It’s the theatre of authenticity for the Post Secret crowd hoping to see community building in real-time. It’s not for the stoic. Fans of Arthur Miller, Tom Stoppard or the strictures of Shakespeare will probably not enjoy this production. It may be too saccharine. That’s okay.

Not Every Brilliant Thing is for every brilliant person. There’s enough theatre for everyone, and the audience for this production is meant to be intimate; it’s for the people who want to be there. Go out into the world and find the theatre that brings you joy. Happy 2025 – it took a lot of work to get here. Go out and find your joy. We’re going to need it.     

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