Since its premiere in 2013, Duncan Macmillan’s one-person play about depression has gradually become a cult hit. It’s been performed in more than 80 countries and now – finally – makes its West End debut. There’s a starry rotating cast, kicking off with Lenny Henry and also including original performer Jonny Donahoe, as well as Ambika Mod, Sue Perkins and Minnie Driver. Jeremy Herrin directs alongside Macmillan and a posse of leading producers are backing the show.
It all screams smash hit. But there’s something about the scale and downright snazziness of this production that doesn’t quite gel. The setup is simple. It’s about a young boy who, after his mum does “something stupid” when she has acute depression, decides to make a list about all the things that make life worth living. Waffles. Hedgehogs. Falling in love.
Before the show begins, scribbled notes with items from the list are distributed throughout the audience. At regular intervals, the audience is required to shout out the items from the list. A few spectators are also pulled into various mime sequences and running gags and, with Henry, they carefully bring this boy’s story to life as he transitions from a hopeful young boy to faltering and thoughtful man.
Good fun … Every Brilliant Thing. Photograph: Helen Murray
In the very best productions of Macmillan’s play, the moments of audience interaction can feel really special. But on press night, everything feels slightly on edge. Perhaps the shiny new theatre and star performer are a little imposing. Every now and then, Henry can’t resist sparring with the crowd. It’s all good fun but every ad lib takes us one step closer to a standup show – and one step further from the warm heart of this play.
It’s only when Henry isn’t trying to be funny that the show settles. There’s a stillness and steeliness to him when he talks about the importance of protecting our mental health. Henry also responds beautifully to all the music woven into the show, which plays such an important role and underlines just how much this boy has been forced to live on the edges of his family life. Listening behind doors. Hovering. Worrying. Never getting truly involved, for fear of what he may lose if he lets the happiness in.
At @sohoplace theatre, London, until 8 November