Tracee Ellis Ross, the celebrated Golden Globe-winning actress, producer, and entrepreneur, has stepped onto the Broadway stage, marking a significant milestone in her illustrious career with her debut in Duncan Macmillan and Jonny Donahoe’s profoundly moving play, Every Brilliant Thing. The production, which opened on July 7th at the Hudson Theatre, is more than just a theatrical performance for Ross; it’s a platform to engage audiences in vital conversations about mental health and the enduring power of human resilience.
Ross’s entry into the Broadway scene is a culmination of a lifelong passion for performance. As a child, she entertained her sisters with elaborate renditions of musical numbers, drawing inspiration from theatrical legends. "My sisters were tortured growing up, because I was constantly playing Mrs. Hannigan and singing Annie all over the house," Ross recalled in a recent interview. This early inclination towards immersive storytelling was further fueled by the one-woman shows of iconic performers like Whoopi Goldberg, Lily Tomlin, and Anna Deavere Smith, artists who masterfully commanded the stage with their individual narratives. These influences, coupled with her formal theater studies at Brown University, laid the groundwork for her eventual Broadway aspirations. "It kind of felt like flying with my feet on the ground," Ross described her initial experience taking the stage at the Hudson Theatre, a sentiment that captures the blend of exhilaration and groundedness inherent in live performance. Her engagement with Every Brilliant Thing is scheduled to run through August 9th, offering a limited but impactful window for audiences to experience her transformative portrayal.
The Enduring Resonance of "Every Brilliant Thing"
Every Brilliant Thing is a 40-page monologue that delves into the complexities of mental health through a deceptively simple premise. The play’s title refers to a list the Narrator begins compiling as a child. Prompted by their mother’s attempted suicide, the young Narrator starts documenting reasons to live—initially simple joys like ice cream, water fights, and staying up late to watch television. This practice evolves and continues through the Narrator’s adolescence, college years, first love, and their own personal struggles with depression, culminating in a millionth entry that signifies a profound journey of healing and hope.
The play’s origins trace back to the Ludlow and Edinburgh Fringe Festivals, where Macmillan and Donahoe first presented its current iteration. Jonny Donahoe later starred in an off-Broadway production at the Barrow Street Theatre in 2014, paving the way for hundreds of regional and international performances. The play’s global reach is staggering; as of 2024, it has been translated into an impressive 66 languages and staged in 63 countries, a testament to its universal themes and profound connection with diverse audiences.
Ross herself acknowledges the play’s remarkable ability to transcend cultural and personal boundaries. "Although it is not my story at all, it still feels like every feeling inside it is mine," she stated. "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. This play doesn’t lean into that, but leans into the idea that things can change, and there are brilliant things in life that make it worth living." This perspective highlights the play’s core message of hope, emphasizing that even amidst profound darkness, the human spirit possesses an inherent capacity for finding light and meaning.
A Staged Tradition of Vulnerability and Connection
The narrative arc of Every Brilliant Thing has seen a distinguished lineage of performers bring the Narrator to life. The production initially opened on Broadway in March 2026 with Daniel Radcliffe in the role, earning both the play and Radcliffe Tony nominations. Following Radcliffe’s tenure, Mariska Hargitay, known for her impactful role in Law & Order: Special Victims Unit, took over the part. Ross’s assumption of the role signifies not only her Broadway debut but also her continuation of a tradition of esteemed actors engaging with this emotionally resonant work.
A unique and powerful aspect of Every Brilliant Thing is its inherent reliance on audience participation. The play actively involves attendees, inviting them to step into various roles, such as family members, teachers, and other figures crucial to the Narrator’s life story. This interactive element fosters a palpable sense of community and shared experience within the theater. In the current climate, where the United States is grappling with a significant mental health crisis, this participatory approach takes on added significance. Ross embraces this dynamic, viewing the theater as a space for collective engagement and affirmation.
"My job is really to be a conductor of sorts, and to fill the space with wonder and connection—really to set the tone that we are all there to flourish," Ross explained. "There’s no doing it wrong, and there’s no mistakes." She shared an anecdote from a recent performance where an audience member cast as a lecturer expressed nervousness. Ross’s response, "So am I. We can be nervous together," perfectly encapsulates the play’s ethos of shared vulnerability and mutual support. "I feel so deeply grateful for the people that are willing to face their nervousness and their discomfort and the not knowing, and show up anyway, and kind of play in that moment, and play with me," she added, underscoring her profound appreciation for the audience’s willingness to engage. This collaborative spirit transforms the theatrical experience into a shared exploration of human emotions and resilience.
Addressing the Mental Health Crisis with Nuance and Empathy
The engagement of Tracee Ellis Ross, a prominent Black woman, in Every Brilliant Thing introduces a crucial layer of representation and context to the play’s exploration of mental health. Studies have consistently highlighted disparities in mental healthcare access and outcomes for Black individuals in the United States. Research indicates that Black adults are less likely than their white peers to receive treatment for mental illness. Furthermore, concerning data reveals that Black high school girls report higher rates of suicide attempts compared to their white counterparts.
Ross is acutely aware of these disparities and sees her role in the play as an opportunity to foster dialogue and offer a beacon of understanding. "Mental health for Black women—and Black people—in America is something that needs attention and care and love," she stated. "I think this is a wonderful vehicle for those kinds of conversations." She emphasized the educational value of the play, noting her own learning experience. "I think there’s a lot to learn in this play. There’s a lot I learned that I didn’t know. I didn’t know that suicide was contagious—I didn’t know it was called the Werther effect. Some of these things I was profoundly riveted by. I was staggered. I don’t take that lightly, telling this story through my being, and what that does to people." Her powerful words underscore the play’s capacity to educate, illuminate, and foster empathy, particularly concerning the often-misunderstood nature of mental health challenges and their societal impact.
The play’s nuanced portrayal of depression and suicide, without resorting to sensationalism, allows for a deeper understanding of these complex issues. The "Werther effect," a term derived from Goethe’s novel The Sorrows of Young Werther, refers to the phenomenon of imitation suicides following media coverage of a suicide. This detail, among others, highlights the play’s commitment to providing factual context alongside emotional depth, empowering audiences with knowledge and fostering a more informed approach to mental well-being.
Ross’s decision to make her Broadway debut with Every Brilliant Thing is more than a personal artistic achievement; it is a deliberate choice to engage with a work that amplifies important societal conversations. Her performance, infused with her characteristic warmth and gravitas, promises to resonate deeply with audiences, encouraging introspection, fostering connection, and ultimately, celebrating the myriad of "brilliant things" that make life worth living, even in the face of profound challenges. The play, through its innovative structure and powerful message, coupled with Ross’s compelling presence, stands as a vital contribution to the ongoing dialogue surrounding mental health and the universal human quest for hope and belonging.
