Duncan MacMillan – Analog Artist Digital World

Every Brilliant Thing by Duncan MacMillan with Jonny Donahoe runs at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) runs through October 16, 2021. Suzanne O’Donnell did a magnificent job ass the narrator in this one person play.

The Shakes is coming back with full safety precautions in mind. All cast and crew at the Shakes are fully vaccinated. The theater also insists that the audience bring a vaccination card and photo ID to the performance.

I have had my vaccination card in my wallet for the last six months and this is the first time anyone has asked to see it. I was excited and proud to finally show my vaccination status. Those vaccine cards however are printed with cheap diapering inks. The police officer outside the theater had a hard time making out the faint marks that remained on the card. Ultimately I was waived in and I got to see my theater posters full size for the first time.

Pam and I elected to sit in the socially distanced section of the theater. In every row black lace marked several seats in alternating spots where people should not sit. This would allow for at least 4 feet of social distancing between groups. Everyone was wearing masks. I felt safe and secure to relax and enjoy the show as I sketched. Members of the audience were given numbered cards with list items on them. During he show Suzanne would shout out a number and an audience member would shout out what was written on their card. Pam pointed out that one guy kept removing his mask when he had to shout out his item, which kind of defeated the point of having a mask. One drawback is that the audience wasn’t always on top of their callback game but the actress handed these glitches with grace and humor.

Every brilliant thing has to do with a list the narrator began compiling as a child which was expanded later in life. She started the list because her mother was depressed and felt no desire to live. The list was for her mother to remind her of every brilliant thing that makes life worth living. Number 1 was of course ice cream. Later in life the items became more subtle like lending a book to a friend and actually having them read it. This was a perfect play for these pandemic times. We have all been isolated in some way and the joys in life must be found even through the isolation. Happiness was mixed with a pinch of sadness.

Suzanne exuded joy and passion for life, and in the end as she relaxed on her lounge listening to music I left feeling she would be fine, even though life is bitter sweet.

Three cheers to the Shakes for bringing back theater safely and responsibly. They are a bright light in these dark times.

I had a blast designing posters for this season’s shows at The Orlando Shakes (812 E Rollins Street Orlando, FL 32803). The first show now on stage is Every Brilliant thing by Duncan MacMillan with Jonny Donahoe. The show stars Suzanne O’Donnell as the narrator.

Laughter is the antidote to all things. When mom is depressed, a young child sets out to assemble a list of all the things that make life wonderful. From “ice cream” to “sunshine” to “laughing so hard milk shoots out your nose”. The list grows as the child progresses from adolescence to adulthood. Told in collaboration with the audience, this uplifting story explores resilience, and the lengths we will go for those we love.

The creative team consists of, Director: Anne Hering
Scenic Designer: Kurt Bippert
Lighting Designer: Delonte Smith
Sound Designer: Britt Sandusky
AEA Stage Manager: George Hamrah*
AEA Assistant Stage Manager: Anne Hering*

*Member of Actors’ Equity Association

The Shakes will require proof of vaccination or a negative test result for audience members. This brave move puts my mind at rest. They are also providing a special section in the upper mezzanine for patrons who wish to be distanced from other parties. When purchasing, seats for this section are indicated in bright red.

The poster underwent a series of adjustments and explorations and I will share the sketches leading up to the final version shown above.

The first version consisted of colorful post it notes being covered with children’s drawings. I loved the idea of a large children’s drawing of the sun being the idea that encircles the title. The child’s hands drawing gave off the vibe that the show might be for children. It needed a touch of darkness to balance the light. The child’s hands had to go.

The next ides as to show the mom and to paint her in black and white to contrast the colorful sun and post it notes. I planted a post it right over her face, as if to protect her identity. Part of the challenge is that we did not know who would be playing the lead roll in the production yet. We were not sure of the lead would be male of female. I liked the notion of portraying the mom but anyone who does not know the show would likely think the person portrayed was the lead actor. That presented a new challenge.

Next I made it clear the yellow post its were falling from the sky with the children’s drawings on them. I removed the post it not covering the mom’s face and had to lean her head back in such a way that it would be difficult to tel if the person portrayed was female or male. I failed. she clearly looks female. I would have to try another tack.

Since the show was running in September and October I decided to try changing the vibrant sky to a view of fall foliage with the post its falling like leaves. A thicker fall coat and scarf might help further make the sex of the character less obvious. I tilted the head even further back to dance on the end of the pin. The fall scene however evoked a bit of menace that I didn’t intent. Since the first production of the play had a male actor in the lead roll we decided I should do a version with a man where I wasn’t tilting the head back as much.

So this version with the man shouting for joy was considered to be the best option at the time. I did an earlier version where he had closed fists but that was interpreted as showing hints of protest rather than joy. For me this worked because the face was clearly visible and his joy radiated from his expression. Months passed and then I heard that Suzanne O’Donnell was cast in the lead roll. We decided to have her pose in the same way and she was worked onto the poster at the last moment before marketing began for the season. I turned that painting around in one day but it was so worth it. Her expression exuded a pure serine joy that was truly needed.

I can’t wait to see the show. I will be sketching from the socially distanced seats but I am so happy the Shakes is bringing live theater back to Orlando responsibly. Hopefully others fill follow in their footsteps.