Play Review; Every Brilliant Thing,Can Love Save It All?

Life is a variation of emotions, the dreadful feeling of loneliness to the ecstatic high that comes off happiness; its frugal nature is beyond human understanding. I guess that’s why everyone has to undergo the brutal essence of solitude that is often accompanied with the lowest yet unfulfilling understanding of your presence on earth. The results? I guess we all know they can either be strong enough to weather out the storm or take the easy but not so easy way out. Apparently one of the cures to this loneliness, sadness or depressive episodes is having someone you can trust or love around you. 

But hold up guys, this isn’t an essay on 10 ways to get out of suicide, rather it’s a detailed understanding on the tumultuous relationship we have with emotions as solid beings on this cursed earth that Eve burdened us with. Recently I attended my first live play and I thought it was going to be a comedy show. I never pictured the Kenyan theatre scene tackling anything other than our country’s pigs, our unfathomable love for drugs or even the seductive power of romance. Instead this was a curated show based off a famous novel “Every Brilliant Thing,” that tried to decipher the long term effects of depression on a suicidal but comical note. 

To be frank, this was a well thought out event. From the promotion, to the constant reminder via texts of the arrival time and even the sweet gesture to remind the attendees to dress warmly due to Nairobi’s unpredictable weather, the event organisers had the people in mind. For one,I was shocked that you can hold a live  play at the National Museum, I only thought we went there to see snakes and man’s evolution. The location was suitable for people who drive and take cabs but for the “hustlers” who commute using matatus, it was technically a nightmare. Despite that, the attention to detail was evident. The luminous purple fairy lights as you made your way to the amphitheatre immediately made me forget of the tumtulous twenty minuet walk I had made from Archives to the Museum. 

Immediately on arrival, I noticed the vast number of ticketing booths and the attendants, enabling a fast flow of  guests. Unlike our normal events where you are assured of a stolen phone and a few fractures, the organisers made sure the Ksh 2,500 that was used to purchase the tickets was worth it. After the verification of tickets, there were incentives to thank the guests for making time to the show with either a pop socket or a fridge magnet that also served as promotion for Mad Fun. The amphitheatre had cushions ensuring comfortability and protecting our bundas from the prickling cold oh and let's not talk about the food because it was in plenty with relatively affordable prices. Immediately from the audiences I could notice the play was reserved for the working class or my financially comfortable peers. 

Unfortunately the show which was scheduled to start at 7:00 p.m kicked off at 7:32 p.m. I guess the thirty two minutes were to enable the guests to network and enable the star to have banter with the people. The music did its job in setting the ambience as Rhumba instrumentals filled the air that breezy night. To be honest I really didn’t know what to expect but immediately it kicked off, I was at the edge of my seat with my emotions riling. The star of the show was Mugambi Nthiga and if you are not familiar with his game you should watch ‘Nairobi Half Life.’ Back due to public demand, “Every Brilliant Thing” won two awards last year at the Kenya Theatre Awards. It is understandable why tho, from Mugambi’s expertise to the necessary knowledge dispersed on Suicide

Nairobi Half Life

“Every Brilliant Thing,” put down a list of a million things which the protagonist had initially created when he was in a hospital waiting room after his mother’s first attempt. Eventually, the list became a phenomenon that enabled him to get his wife and even attract international attention with thousands of people filling in the simple things that gets them excited in life. From the taste of ice cream to peeing in the sea and knowing someone long enough to have them check if you have spinach in your teeth: the list represented and symbolised the protagonist's growth as years went by. Eventually, depression took the better part of the character’s life as he was unable to keep his marriage, lost his mother in the end and even couldn’t find anything worth living for. Of course every sad story comes with a glimmer of hope as he finally signed up for therapy and rebuilt his life leaving me with a question, can love save it all?

Mugambi Nthiga

Mugambi’s eloquence stirred the emotions among the audience as he owned the story reflecting the ripple effect depression and suicide has on the society at large.  Due to the dark message the play was about to pass through, the team ensured to inform the guests that it was a safe space and brought a team of counsellors. Kudos to them for that because esteemed reader, we were in for a rollercoaster of human existence. Before the show started, Mugambi handed out random cards with numbers to the audience, a great ice breaker if you ask me. “I had never experienced death until I lost Sanford and Son…,” Mugambi started as he explained the coming to terms of losing something and never getting it back. 

Explaining death with the use of his dog, yes Sanford and Son, Mugamabi had constant scenes that needed engaging with the audience as he asked someone to play the veterinarian who euthanized his dog. It lowkey reminded me of my English classes in High School on storytelling and audience engagement. A skill he was to use throughout the play to ensure the audience was attentive. Mugambi’s shining bald head was enough to capture your attention if his unique storytelling abilities didn’ strike a nerve with the audience. The solo play had detailed narration that gave off the feeling we normally have when watching “Bridgerton.” The play was definitely better than the book. 

Fundi Konde

My favourite part of the show? The integration of the actual songs from the play with Kenya’s Rhumba songs. I don’t know Fundi Konde but by the end of the night, I had full knowledge of his catalogue and profile. At some points, I lost knowledge of when Mugambi was in character and his actual presence. Ending a few minutes before the clock struck 11 p.m, I was drawn back to reality where I realised communism is child’s play in Kenya and I would have to order Faras because Uber and Bolt deemed me unfit for their services. For my first play, Mugambi definitely set the bar high, bringing an urge to delve into Kenya’s film industry. I guess we can try to understand depression and suicide but in the end there is so much to decipher if we want to make a change.