Ross strips down, shares raw grief on broadway debut
Tracee Ellis Ross’s Broadway debut isn’t just another performance; it’s a visceral exploration of loss and resilience, unveiled in a strikingly intimate staging that challenges conventional theatrical norms.
A one-woman show of vulnerability and connection
The acclaimed actress and producer stunned audiences – and critics – with a recent performance of Every Brilliant Thing, a poignant monologue from Duncan Macmillan and Jonny Donahoe. Ross, stepping into the role of the Narrator, began the show by shedding her clothes onstage, a bold gesture that immediately established a profound sense of vulnerability and stripped away any pretense.
The play itself centers around a child’s efforts to create a list of reasons to live, sparked by their mother’s suicide attempt. Ross masterfully navigates the shifting landscape of grief, tracing the Narrator’s journey through childhood, first love, and repeated struggles with depression – all documented in a sprawling, million-entry list.
From fringe festivals to broadway – a global impact
Every Brilliant Thing began its journey in smaller venues, garnering critical acclaim at the Ludlow and Edinburgh Fringe Festivals. Its subsequent off-Broadway run and subsequent international translations – now reaching 66 languages and staged in 63 countries – underscore its universal themes. Ross credits the play’s enduring resonance with its unflinching depiction of human suffering, a sentiment she powerfully articulates: ‘Even if the world weren’t the way it was, it is a human thing to experience that kind of hurt inside, whether there’s a reason or not.’
The production’s innovative use of audience participation, inviting attendees to embody family members and teachers, further amplifies its emotional impact. Ross describes her role as a ‘conductor,’ fostering a space of ‘wonder and connection,’ urging the audience to ‘show up anyway’ and embrace the discomfort of confronting difficult emotions.
Addressing a critical need
Ross’s decision to take on this demanding role comes at a crucial time, coinciding with a growing mental health crisis in the United States. She recognizes the play’s potential to spark vital conversations, particularly regarding the unique challenges faced by Black women and Black people in accessing mental healthcare. ‘Mental health for Black women—and Black people—in America is something that needs attention and care and love,’ she states. ‘I think there’s a lot to learn in this play. There’s a lot I learned that I didn’t know.’
The production’s success, and Ross's deeply personal connection to the material, represents a significant milestone – a testament to her artistic growth and a powerful reminder of the transformative potential of storytelling. The final entry in the list, and the final curtain call, offer not a resolution, but a quiet invitation to carry on, to find brilliance in the everyday, and to acknowledge the shared human experience of loss and hope.