Every Brilliant Thing
Content and Trigger Warning: Contains descriptions of depression, self-harm, and suicide.
Every Brilliant Thing written by Duncan Macmillan and co-created by Jonny Donahoe has the kind of success that any fringe show could have dreamed of when it debuted at Edinburgh Fringe over ten years ago in 2014. Since then it has debuted in over 80 countries, had multiple sold out runs at Edinburgh Fringe, and even returned in 2024 to celebrate its major milestone. However, one question remains: why is this show not on the West End?
Well, now it is! From the 1st August until 8th November, Every Brilliant Thing is co-directed by Jeremy Herrin and Macmillan with a fantastic rotating cast including Lenny Henry, Ambika Mod, Sue Perkins, Minnie Driver and the show’s original co-creator Jonny Donahoe. Details on who is playing at what performance are all available online when booking. The night I came to visit @Sohoplace, I was lucky enough to catch Sue Perkins (more on her later).
Running at 85 minutes, Every Brilliant Thing is the story of a young child who, when confronted with their mother’s suicide attempt, makes a list of all the wonderful things, both big and small. It’s numbered and as random as you can imagine, from ice cream to 2001: A Space Odyssey. This list follows our narrator throughout their life, popping up exactly when needed and showing us the complexity of mental health both on the individual and how it can affect the family unit. It is a play about mental health.
This may sound very stuffy and solemn at times, and there are moments where we are told just how devastating suicide can be. Yet Every Brilliant Thing has a powerful script, inventive direction, and a magical ingredient….you. The audience.
When I came to @sohoplace, I was struck by just how much smaller the space seemed. Now, is it the full intimacy of your favourite fringe venue or pub theatre? No. Not at all. But it’s pretty impressive. When walking in, the stage was in the round. Every seat was great since there is lots of movement. What I was not expecting was to see Perkins as if we had stepped into her home. In a simple outfit, a black t-shirt with squiggles of colour throughout, jeans and pink and yellow trainers. Vicki Mortimer, costume and set designer, has taken time with each and every performer in coming together with an outfit that calls to each performer, and this rings true for Perkins. Before the show fully began we could see her dancing to jazz music, chatting and high-fiving the audience. I admittedly have not followed Sue Perkins’ career, apart from her being an iconic host of The Great British Bake Off and knowing she has a natural funny bone. I was excited to see how she would handle the writing and the general public.
The audience is a vital part of telling the story, helping by giving objects to our narrator and even becoming the love interest, the vet who introduces the concept of death to our narrator, the piano stand and the dad who gives a heartfelt speech. These are all members of the audience and Perkins has to just go with it. As soon as the show started, the lights never fully dimmed. We could see just how warm, charismatic and witty she is in each and every interaction. From playing and singing piano to dancing to the fantastic sound score, Perkins is undoubtedly hilarious and glorious. She balanced difficult topics and made us laugh and think along the way. I do have to say some of the thoughts about mental health and “never being alone” feel a little outdated from its original debut in 2014, but they are well founded. When seeing Every Brilliant Thing, no two shows will ever be the same. For instance, when flirting with another woman from the audience in the library, Perkins calls out for a book. The book she was given by the audience? The Women by Kristin Hannah. You cannot even write it. It was, well, brilliant. What tomorrow’s performance might be? I have no idea. Every night will be different.
But while much of the show can depend on the audience, the piece was directed very well with love throughout. Disco balls come from the sky. Perkins moves around the space as if it could be her living room. While the stage is bare, props do pop up when needed – keyboards to play, rubbish from the attic. The set has a light touch, but so does the way the story is told, with humour and intention throughout by Herrin and Macmillan that highlight just how alive Macmillan’s writing is. It dives into talks of depression and death while equally telling us a love story that rivals The Notebook. However, it never felt like it was too much at any time. Seeing lots of young faces in the audience, it may have been the first time they heard about mental health spoken in this way. The impact of that is just why we need theatre, and I hope Every Brilliant Thing continues to impact all generations.
Every Brilliant Thing allows us to chat further about mental health without feeling like it’s a lecture. It’s about death but equally about life. The idea of looking at the small moments leading to a larger, more beautiful life. The intimate and everyday experiences can lead to better wellbeing. Sharing with people and engaging with the arts and community can build a sense of worth. If you are looking for a feel-good night at the theatre that will leave you thinking about it on the way home, Every Brilliant Thing just might be what you’re looking for. Just be ready to join in on the chaos!
This show was reviewed on the 10th September 2025 at @sohoplace, London where it runs until the 8th November 2025. Tickets available here: Every Brilliant Thing | @sohoplace
Review written by Mary Condon O'Connor
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Photo credit: Danny Kaan
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