Every Brilliant Thing
Daniel Radcliffe (Photo: Matthew Murphy)
By Fern Siegel (Posted March 15, 2026)
Finding joy amid sorrow is no small trick — especially if you are a 7-year-old coping with a suicidal mother. That’s the premise of Broadway’s Every Brilliant Thing, now at the Hudson Theater. The 70-minute show is surprisingly upbeat, thanks to the frenetic energy and singular charm of Daniel Radcliffe.
A solo effort, Every Brilliant Thing’s conceit is Radcliffe’s star power — it’s hard to imagine anyone else in the role, though it has played worldwide. Written by Duncan Macmillan with Jonny Donahoe, it became a breakout hit at the Edinburgh Fringe Festival in 2014. Since then, productions have been staged in more than 80 countries.
And while its intimacy is better-suited for a smaller venue, such is Radcliffe’s appeal, Broadway called. And he answered with a strong, heartfelt and inspired performance.
The premise is deceptively simple — a young man relates his life from childhood to adulthood. To give his mother an antidote to suicidal thoughts, he devises a list of brilliant things, his Rx to combat depression. He begins with ice cream and roller coasters, getting more sophisticated and sensory as he matures. It’s the power of creativity and the sheer number of life’s pleasures that captivate him. And by extension the audience, which is a key participant in the show.
That tenuous equilibrium — happiness vs. despair — takes conscious dedication. Serious depression is often a chronic, paralyzing condition — and the suffering affects every family member. There are periods of normalcy that suddenly give way.
As Radcliffe’s character notes, the “why” of suicide is unknowable and facile explanations, such as losing a job or relationship, only touch on the myriad complexities. Even the “how” isn’t relevant. What is? Finding meaning and hope. We share time with a man eager to define himself — rather than be defined by fear and the inability to control others.
The high-energy role is a journey. As Radcliffe navigates university, love and life, he is almost obsessive in adding to his list, which begins on post-its and eventually fills countless boxes. Let your imagination soar as Radcliffe yells out numbers on cards and the audience — yes it’s that kind of immersive experience — reads out the next “brilliant thing.”
The lights go up and the audience not only relays the list, it acts as stand-ins for parents, teachers and friends. The better the audience’s involvement, the more enjoyable the moment. This is a truly collective experience.
Whether the smell of freshly cut grass or the sound of vinyl records, the “brilliant” list is a tactile, life-affirming reminder that even in the midst of tragedy, simple joys are worth celebrating.
Take note: This is not a deep dive into the nature of mental illness; it’s a surface reality. The pain is palpable, but the issue is impact. That makes the sensitive direction by Jeremy Herrin and Duncan Macmillan notable. Radcliffe is constantly in motion, and as his roles in Equus, The Cripple of Inishmaan and Merrily We Roll Along attest, a versatile talent.
The lighting design by Jack Knowles illuminates a raised stage: Audience members surround Radcliffe on three sides. allowing for close engagement and funny, unscripted moments. Tom Gibbons’ sound design adds to the emotional experience, which runs until May 24. It’s Radcliffe’s show, but memorable for all.