July 31, 2025 • 36 mins
Today’s episode takes us to London, England. Well, sort of. East Lynne Theater Company’s production of “Every Brilliant Thing” is currently rehearsing across the pond and I was able to steal a few moments with actor Rohan Tickell and director Deirdre McLaughlin. Joining us from East Lynne’s headquarters in Cape May is Executive Director Mark David Boberick.
But what is “Every Brilliant Thing” about? Its synopsis reads - “A son creates a list of things worth living for – all in an attempt to raise the spirits of his chronically depressed mother. He leaves the list on her pillow. He knows she’s read it because she’s corrected his spelling. “Every Brilliant Thing” is a hope-infused exploration of all the joys that can be found in life and a reminder that eventually, every storm runs out of rain.
The Telegraph called it “funny, clever, and surprisingly uplifting.” Slant Magazine said it’s “one of those incredible, transformative phenomena of collective imagination.”
Host, Gina Marie, calls it a comedy with heart. But we’ll let you listen to these talented folks explain what it is they love about the show and let you decide. Check out today’s episode to learn more about “Every Brilliant Thing.”
Thanks for listening!
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Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Gina Marie Rodriguez (00:03):
This is Gina Marie Rodriguez and you're
listening to the Jersey ArtsPodcast.
Today's episode takes us toLondon, england.
Well, sort of Eastland TheatreCompany's production of Every
Brilliant Thing is currentlyrehearsing across the pond, and
I was able to steal a fewmoments with actor Rowan Tickle
and director Deirdre McLaughlin.
Joining us from Eastland'sheadquarters in Cape May is
(00:26):
executive director Mark DavidBoberic.
But what is Every BrilliantThing about?
Its synopsis reads a son createsa list of things worth living
for all in an attempt to raisethe spirits of his chronically
depressed mother.
He leaves the list on herpillow.
We know she's read it becauseshe's corrected his spelling.
Every Brilliant Thing is ahope-infused exploration of all
(00:50):
the joys that can be found inlife and a reminder that
eventually every storm runs outof rain.
The Telegraph called it funny,clever and surprisingly
uplifting, and Slant Magazinesaid it's one of those
incredible transformativephenomena of collective
imagination.
I call it a comedy with heart,but I'll let you listen to these
(01:11):
talented folks explain what itis they love about the show and
let you decide.
Stay tuned to learn more aboutevery brilliant thing.
Rohan Tickell (01:20):
We've been rehearsing this morning.
Deirdre McLaughlin (01:22):
We've been rehearsing all day, so Rowan's a
little peaked.
Gina Marie Rodriguez (01:25):
Oh my gosh Remind, remind me what time is
it there?
What is it?
Six o'clock it's five.
Deirdre McLaughlin (01:29):
Yeah, I flew overnight last night and um,
and there was a three-hour delay.
So between it all I'm I'm justlike, okay, the sun's out.
I mean I'd so much.
Rather I travel a ton for mydirecting work and it.
It is definitely easier in thesummer because as long as the
sun's out you can just go.
Ok, body like, we're awake atthe right time, we can do this.
Gina Marie Rodriguez (01:53):
Yeah, I can't imagine.
I cannot fly very well, so forme to have to do what you're
doing, it would end very poorly,very, very poorly.
All right, well, let's justjump into it, because I'm really
intrigued by this show, by thisstory.
I want to start with Mark,because I have a few questions
for you, just about practicalityof it all.
(02:16):
How did Every Brilliant Thingmake its way, or it's in the
process of making its way, fromLondon to Cape May?
So what has that journey beenfor you in curating your season
and obtaining this show?
Mark David Boberick (02:28):
Yeah, well, I would say maybe the answer is
actually it sort of made itsway from Cape May to London and
now it's making its way back toCape May.
It was a conversation startedlast summer between Deirdre and
I and you know, of potentialoptions for the theater to
(02:49):
explore and, interestingly, Iread the script and I loved it,
but I put it down and I didn't.
I was not immediately, I didn'timmediately think it was going
to be the show for us, not ashow I wouldn't want to do, but
where we were as a company, Ididn't immediately think it was
going to be the show for us, nota show I wouldn't want to do,
(03:13):
but where we were as a company,I didn't think we could actually
pull it off in the orientationand give it the justice that it
needed to have.
And then so many things havehappened since then and we're
now in this new space.
This is our first home in 45years for the company, our first
permanent home, so it's thefirst space that we can actually
control entirely.
So we've been in spaces,actually a history of being in
churches, but you know we hadbeen in a church here at Cape
(03:37):
May for at least 20 years and sowe would put our season on
there.
But it's still an active churchand so what would happen is
whatever we put on stage duringthe week would have to come off
after the Saturday show and thealtar returned to a worship
state and then on Tuesdayreverse, and then Saturday
reverse.
(03:57):
And so you know it has limitedwhat the company has been able
to logistically produce forquite some time.
But as the evolution of ourentry into this building evolved
and continued to become moreapparent, we realized that we
had the ability now to possiblyput something in here, and it's
(04:19):
really possibly 20 years in themaking, also because the last
thing Deirdre and I worked onand collaborated with was a
site-specific performance wherewe decided, you know, in our, in
our youth, to to try somethingradical, and for the time it was
, we decided to put a show in awarehouse, that it was never a
theater before, and so we have ahistory of of making that.
(04:45):
Part of the process and part ofthe fun actually is having is
having that, that, that problemto solve about how do you take
one space and transform it intoanother, and so it doesn't have
to be designed as a theater.
You can still.
You can still present art in it.
And so once we realized wecould be in this space, we
(05:07):
started to take a look at thatand I said I think it is the
right one.
I think that it's the firstshow that our company can
present in a totally differentway, because it's presented in
the round and we have theability right now, because we
just have a big open room withnothing fixed to the floor.
And so let's go for it.
Deirdre McLaughlin (05:24):
So, just to add to what Mark is saying, I
think a really important part ofthis play's history is that now
it's played, I believe, in over20, 25 countries, but it
originated in a space at theEdinburgh Fringe called the
Payne's Plough Roundabout, whichis a really popular place space
(05:45):
that's always got new writingperformed in a circle.
And at the very start of thescript, the first thing the
playwright clarifies is thatthis play should have no large
set, that everyone in theaudience should be seated,
ideally in the round, butultimately in the most
democratic way possible, so that, in addition to being able to
(06:07):
watch the performer, they canall see themselves.
The sense of community in thisperformance is such a big part
of the storytelling and becausethat is so important and can at
times be a little complex, Ithink that was part of why, when
Mark and I originally talkedabout the show, we said, oh,
we're not sure yet.
And then when we walked intothe new renovation together, we
(06:29):
said, oh, wait, no, this is theperfect space for curating that
really special type of audienceinteraction, and I think that's
an important context in relationto the show.
Gina Marie Rodriguez (06:40):
I really love that we your audience are
benefiting from your new spaceas well.
It's not only that it's easierfor you, but also that we get
such a wonderful show that ismeant to be presented in this
communal way.
I really love that you said thatit's a community event, because
, as you all know, this is ashow that is obviously dealing
(07:02):
with a lot of mental healthissues.
As you all know, this is a showthat is obviously dealing with
a lot of mental health issues,and I think that a lot of our
mental health issues nowadaysstem from this lack of community
that we're.
You know, we're living in thisisolated world and everything is
digital and we need to.
I think more people wouldbenefit from being in any
theater, let alone in in aroundabout like that, in a
(07:28):
roundabout like that.
But I kind of want to use thatto pivot to how you guys are
handling the mental aspect ofthis and how I know that you're
incorporating these Talk BackThursdays to make sure that you
are handling the subject matterwith care.
So can you talk whether that'sMark or Deirdre, talk to me
about how those TalkbackThursdays came about and how
they're designed to help youraudiences.
Mark David Boberick (07:48):
Yeah, sure, so I have.
In addition to being involvedwith the theater company, I have
several other businesses in thearea.
I have a floral design company,I have an event design company,
I have an interior designcompany, I have an event design
(08:18):
company, I have an interiordesign company and I'm also on
the board at the hospital, likethat board member that I needed
to be.
And just when I was thinkingmaybe it's time for me to let
someone else take a seat, thisshow comes along and I realized
that I have this opportunity nowto connect and, as Deirdre says
(08:39):
, community is such an importantpart of the show, such an
important part of the show.
I now have this ability toconnect with all of the people
that I have worked with indifferent capacities, now on
something totally brand new.
And it was important for mebecause mental illness is
something that has hit close tohome for me and my family that
(09:02):
you know, this show deals.
Show deals with this, thistopic, and it does so in such a
beautiful way that it neveralienates the audience.
But I felt like there needed tobe just one more element to it
and I and I felt like we had aresponsibility almost to
represent the science end of ofmental illness.
(09:25):
And so I immediately went to myfriends at Cooper and said this
is what I'd like to do, andwould you be on board for this,
could you help?
And they said not only are weon board, but we have a couple
other people in mind that wouldlike to be on board, I'm sure,
too, and so thus began thiswhole outreach to other
(09:45):
community partners.
And so you know, there's such agreat thing that's happening
here within this building, notjust the show being a sense of
community building, but thehistory of this space.
This is the historic Allen AMEChurch African Methodist
Episcopal.
It was built in 1888 and wasnearly destroyed by fire in 2018
(10:10):
.
This is located in the historicblack section of Cape May,
which is a.
The historic black section usedto be much, much larger.
It used to take over almostlike a quarter of the city.
What we know is like theWashington Street Mall, the Main
Street in Cape May was oncepart of the black section of
Cape May, so it's a lot.
The history of the of of of theblack people in Cape May goes
(10:34):
back a very, very long time.
It's a well-establishedcommunity.
The numbers have gone down whenthe fire hit this building in
2018, the congregation was downto just a few people it was like
seven people and they could notthemselves raise the money to
(10:54):
restore the building, and so thebuilding was endangered until
the city stepped in and setabout the process of renovation
and restoration and preservationin all three of those ways
restoration and preservation inall three of those ways and then
they approached us, knowingthat we did not have a home and
that we might be able to dosomething with this space.
But, at its very heart, churchesare places where people come
(11:15):
together to gather and tocelebrate.
These are community structures,and it's important for us as a
company that we're, you know,we're not just stepping into
this building that's so rich inculture and history without you
know, without acknowledging thatit's not originally ours and
(11:38):
we're not taking it forourselves.
We're going to keep it, we'regoing to hold space for other
people and we're going to holdspace for everybody, and we want
this to become a building thatbrings many people in in many
different ways.
And so, you know, it's just a abeautiful moment, really, of of
all this community stuff comingtogether in a, in a community
building that's being broughtback to life in this amazing way
(12:02):
and with these communitypartners.
So, deirdre, did you haveanything else to say?
I felt like I answered that toolong.
Deirdre McLaughlin (12:09):
Well, I'm sure we can move around, but I
think you answered it reallywell.
Okay, I think the simplest,small addition that I would say
is one thing that the story ofthe play makes very clear is
that mental health andwell-being, while there are
different steps we can take asindividuals, it's rooted in our
(12:32):
connection to others, and thatmay be one-to-one relationships.
It may be how other individualsin our lives help us better
understand ourselves.
It can be how we relate to thecollective and in that way,
remembering that all of thosedifferent, dynamic relationships
(12:52):
are an important part offacilitating mental health, I
think it became clear to us as acreative team that we wanted to
not just see thoserelationships exhibited in the
play and they are but to ask howwe could make space for similar
, varied interactions so thatit's really clear that Eastland
(13:17):
is interested in more than anaudience.
They're interested in forging acommunity.
Gina Marie Rodriguez (13:22):
I'm really adoring this community theme
that we have going on here.
I love what you're doing.
I'll say it that way I lovewhat you guys are doing.
But now I'd like to talk to theman of the hour.
Our star here, shall I go andget it.
Uh, our star here, go and getit.
(13:46):
Um, as we're talking about allof the the heaviness of of
mental health and theresponsibility that comes with
it, I'm curious how you, as theperformer, maintain your own
mental well-being while you'recrafting a character who is
himself living through such astrenuous point in his life.
Rohan Tickell (14:00):
Yeah, I don't know if you've read the play or
it's going to be.
When you come and see it it'llbe your first experience of it.
I think it's, and Deirdre will,I'm sure, support me on this,
that it's not that there aren'tmoments in the delivery, even in
(14:23):
the rehearsals as we werehaving them today, where moments
become piquant and brittle andpresent and immediate, but the
form of the play and the idea ofthe play and I think this is,
and the play is morphing andchanging underneath me every
time.
I sort of look at it andDeirdre will show me things that
I just haven't even noticed, orshe'll pull things up and I'll
notice things.
But it's more that the play notjust because it's done with not
(14:45):
a distance perspective, butit's done with a perspective of
history, future understanding isthat sometimes I'll put it to
you this way mental health inits public conversation is often
viewed in sort of hot pointideas, in spikes, in peaks,
those sort of things, in youknow, really really sort of
(15:06):
specific events.
And I think what's reallyinteresting about the play is
that it looks at sort ofdiffering mental health as not
the anomaly but as a constant,present conversation in these
connections, and this one justhappens to have a specific
connection between mother andchild and father and child.
(15:27):
But I do tell it in retrospect.
I do visit present moments, Ido describe them, but in general
I have a certain, I have theluxury of a certain distance
from it to look back on it andtry and draw the ideas together.
Does that make sense?
So it's not like I'm living.
(15:49):
And also, what's reallyimportant is it says very
clearly and you know, to quotethe lines in the play he says I
don't want it to seem like mymother was a monster or my
childhood was miserable, becauseit wasn't, but there are
moments and there are momentsand moments and it's actually
(16:09):
looking at a really interestingconversation is what is this
ongoing conversation with thatsort of aspect?
So I guess I found it reallyenlightening.
It's constantly sort of pushingat me to look at how those sort
of things are coming together.
And not the word fallout it'sreally pejorative but I don't
(16:31):
have anything better right nowbut kind of the fallout all
around who his father becomes,who he becomes and not to use
sort of a lazy comparison, butthe he that looks for every
brilliant thing in the world isenacted because of his mother's
struggles so we can look at.
Not that we would ever wish hismother's mental health
(16:53):
struggles upon her, but it's hisresponse and his reflex and his
way of finding his way throughthe world.
So I've just found it reallyinteresting to dig and dig and
dig and dig.
And at this point it's notcomplete for me.
So I guess I really won't knowuntil I play it night after
night and I meet other people inthe space and I see their
responses and how theirgenerosity of sharing the moment
(17:18):
with me, how that will affectme.
So I know that I'll respond inthose moments.
But in this moment I just findit kind of riveting in a human
way.
I'm just constantly in thatspace and I don't think that
there's anything in the play.
I really don't think thatthere's anything in the play
that I find frightening.
But I do find it surprising andI do find it of other
(17:40):
experiences and I guess asactors that old cliche about us
actors, that's what we want tostep into and look into it.
So when Deirdre handed me theplay and said you want to have a
read of this, and I said why?
And she said because I thinkyou would really like to play
this and I said yeah, but I Idon't think.
And then she said just go homeand read it.
And I finished it and I went ohdear, oh no, no, not even in
(18:06):
that read did I find that I wasfrightened of it.
I think as a piece it's reallyinviting.
I think as a piece it's reallykind.
I think as a piece it's reallywelcoming.
I think as a piece it's reallygenerous.
As a piece, I think it's reallygenerous as a piece.
I think it's really curious asa piece.
I think that it is reallydemocratic in the way it looks
at different experiences and sofor me, I'm not as ringmaster
(18:29):
but I get kind of to sit in themiddle of that rather than to
sit in sort of dangerous spaces,if that makes sense.
I hope some of that made sense.
I hope some of that made sense.
Gina Marie Rodriguez (18:37):
No, all of that made sense.
I think you explained it reallywell, and there was something
that you said in there that Iwant to clarify, because I'm not
sure.
If this is an interactive show,are you allowing audience
members to speak to you duringthe performance?
And I see Deirdre nodding.
Okay, that's unique to me.
It's incredibly unique, yeah.
Rohan Tickell (18:59):
Before Deirdre speaks, can I tell you something
from me, because Deidre canexplain this so well, but
something which involvesaudience participation.
I am that guy which is if youcome near me, I'm going to cry
or run because I've been anactor since I was 18.
But I promise you, if you comenear me and you want me to do
something, I'm going to cry orrun or maybe steal your stuff,
(19:25):
and that's not this.
Is that okay with you sayingthat?
Deirdre McLaughlin (19:30):
I want add something to the
conversation we've been having.
The first is to say so werehearsed the play and we ran
through the majority of it in aroom today with the two of us
and some artists.
We invited to watch and givesome feedback.
And I think some individualsmight be surprised, given the
nature of the conversation thatwe're having, that the dominant
sound in the rehearsal room islaughter, and that's because
(19:54):
life and challenges andresilience is often funny that,
yes, it's a play where thedominant activity, rowan's
character, spending the courseof his life making a list of a
thousand things in the worldthat bring him joy, the initial
catalyst for the making of thatlist is something depressing and
(20:18):
a little scary and sad, but themaintaining of the list and the
connecting it to all thedifferent people he encounters
with across his life is often areally joyful thing.
Yeah while there is definitelydiscussions of depression and a
brief reference to suicide inthe play, which we make very
(20:39):
clear because we want theaudience to be informed, I have
never and I wouldn't describethis as a play about suicide or
depression.
I would very much describe thestorytelling as being a play
about the lengths we go to forthose we love, about how we
often experience contrast in theups and downs of life and how
(21:04):
it's our connection to otherindividuals that help us
navigate where we're at and howwe feel about that.
And I think that's quiteuniversal.
And I believe the playwright'sintention, which I very much
hope that our production bringsforward, is to give the audience
, at the end of that hour and 10minutes, a sense of hope, a
sense of collective joy andpotentially, collective grief.
(21:27):
But I think when we experiencegrief it's always so much more
manageable when we do it witheach other, which is part of why
it is set up, so that we canall see each other.
Mark David Boberick (21:37):
Deidre, you have another term.
Sorry, you have another term.
That's what I was saying forthe audience participation.
You said it this morning.
Oh, yes, yeah yeah.
Deirdre McLaughlin (21:46):
So I resist the phrase audience
participation because, much likeRohan, when I as a as an
audience member and a theatermaker, when I go to shows and
I'm told there's going to beparticipation, I feel a pit in
my stomach.
The last thing I want to do whenI do a show is feel like I have
to be a part of it, and we talka lot about how.
(22:07):
In this show.
I would not describe it asaudience participation.
I would say that the audienceis invited to interact with the
story and it's really importantto say it's an invitation which
some will choose to take up andsome will not, and that's
completely fine.
And their participation intelling the story means that the
(22:29):
performance will be differentevery night, that one of the
most joyful parts of the storyis watching Rowan have to act on
his feet and interact with whathe's been offered, and I think
that will be a real joy for theaudience members.
But there is no necessity toparticipate other than to watch.
There's an offer or aninvitation to engage or become a
(22:53):
part of this character's world,this list of brilliant things.
In my experience, having seenthe show performed in its
original production and in quitea few productions, since most
audience members, once theyrealize what the invitation is
and how joyful it is, they'rejumping to take it up, and those
(23:13):
who would rather sit back andwatch can find a lot of joy in
that as well.
Gina Marie Rodriguez (23:19):
As someone who reacts similarly to the two
of you when told there isaudience participation, I really
really appreciate thatdistinction.
So thank you, and thank you,Rowan, for reminding Deirdre
that there is a better way toexplain that.
So my apologies for calling itaudience participation.
So for those listeners ignorethat.
(23:40):
It is not audience participation, it is an invitation.
Speaking of of how thisperformance will manifest, I do
want to talk to you, rowan,about what it is to carry a
one-man show right, because Ican imagine that most of us feel
the weight of that.
So can you tell us a little bitabout the benefits and or the
(24:01):
freedoms that are afforded toyou as a performer when, when
you don't have a partner?
Rohan Tickell (24:05):
Yeah, this is my first time taking on something
at this length.
Gina Marie Rodriguez (24:10):
Oh, wow.
Rohan Tickell (24:11):
This is the first piece I've I've ever had and
it's quite an interesting thingyou bring up because I've been
an actor since I was 18 and I'vedone nothing else I've done,
you know, basically I've neverdone an honest day's work in my
life, all those cliches but I'vebeen an actor all that time.
And if you asked me actuallythe first question whenever I've
(24:32):
done Q&As, when people say, youknow, what is it?
What do you love?
You know, why do you lovetheatre?
And I would instantly everytime say, oh, it's the
collaboration.
I remember when I was doingRock of Ages people would say,
oh, my God, the show's amazing.
What's the best part?
And I say the best part's thefirst moment when all of us turn
up on stage and I stand thereand I think you are not ready
for us.
You know, it's just thatfeeling of that.
(24:55):
So this is a new one.
It might seem like a strangething to cite, but I know from
Deirdre.
You know one of the reasons whyand we interact in all sorts of
spaces, we interact in academicspaces and those sort of things
Part of my journey over thelast 20 years is I spend a lot
(25:16):
of time nurturing young actorsin training spaces and a big
part of that is a bit of aone-man show.
It's kind of you're in a roomtaking care of 25 students, all
of whom are passionatelyinvolved in a very specific or
piquant moment, and it's tryingto make those journeys safe for
(25:37):
them but also introduce them toideas, holding them, you know.
I mean you know holding,holding their space and and
watching how they respond, butalso keeping that story going.
So, in a way, when Deirdre andI talked about it, one of the
the the nice side skillsets iswe knew that that was a skillset
I've been working on for thelast 20 years.
And so the meshing of those twoworlds of playing things like
(26:02):
Valjean working, being in Cats,you know, doing all those sort
of things, but also being aclassically trained actor doing
Shakespeare in those, and thenbringing that back now to a
space which, in a way, I've beenpracticing for for a long time,
it's really interesting.
And it's really exciting to mebecause it's not an alien space
for me.
I thought it would be.
(26:23):
Deirdre said, no, it won't,you've been doing this for 20
years.
And I step into the space and Isaid, oh, okay.
So I don't know if that answersthe question.
The challenges, of course, areno one gives you the cues, and
the cues, as Deirdre said, couldbe different every night and,
(26:43):
depending on someone's responseto what you're offering them,
they could offer you somethingvery different.
And until those sort of thingsstart rolling in, even in
rehearsals today, working withthese different artists, what's
beautiful and it's one of myfavorite things, and I guess
there's the collaboration is I'monly going to be as interesting
as you make me or as what youoffer me, because I'll go where
you take me, and so those arethe differences.
(27:04):
But yeah, it's a big challenge.
I was speaking to my wife aboutit and I said, well, you know,
I mean, maybe I don't do anymore acting after this one.
You know, just because we weretalking about things, she said,
well, it would be a hard act tofollow this play, and so, yeah,
it is a very specific experiencefor me.
I think, if you want to getdown into the weeds of technique
(27:25):
or ideas, the biggest thing forme is to understand the through
line and the very specificlogic of each thought, meeting
each thought, because a lot ofthis play seems I hate the
contemporary term random, but alot of it seems like they're
sort of random synapses firing.
But actually the beautifulthing about every time I read I
(27:47):
go oh, I see, that's why thatmoment happens, because back
here this happened, and so Iguess that's sort of a
three-pronged answer to whatyou're saying is one, it's a
very common place for me to be,but different.
Two, um, it's an expansion ofthe collaborative experience.
And three, it gives me a chanceto really dig into a human from
(28:11):
the age of seven all the waythrough, instead of being
restricted to just a specificsnapshot moment, which a lot of
plays do there are very few,very, very, very, very few plays
, certainly not plays of onlythis length, where you get to
kind of span 40 years of aperson's life and all of those
moments to be significant orinsignificant at the same time.
(28:34):
Does that help?
Gina Marie Rodriguez (28:35):
That was brilliant.
Honestly, that was one of theevery brilliant things in life.
But I had no idea what toexpect from that question and
that's why I ask it.
But I that just made me reallyhappy to hear that this is a new
experience for you, and yet notnew because you've been doing
it for so long.
But it took Deirdre pointingthat out to you to realize that
(28:58):
you'd been doing it.
You know you've been preppingfor this moment for the last 20
years.
I really love that and I guessthat brings me right back to
Deirdre, because you'reobviously a huge part of this
collaboration.
You are directing Rowan, so Iwant to know how you prepare
yourself for, for the care thatyou you have to give the themes,
(29:19):
but also your process ingeneral.
How do you approach the work?
Deirdre McLaughlin (29:23):
I think that one of the most important
things as a director on thispiece is to stay grounded in
empathy, not only for thecharacters but for the audience
and for the actor, and certainlyin rehearsal I've been focused
quite a bit at this time aboutwhat it's like for Rowan as the
actor and what that interactionwith the audience will be like,
(29:47):
so that everyone feels cared forand safe in that.
Now, Every Brilliant Thing isnot just about mental health.
It's about how we navigate it,how we survive it, how we hold
each other up individually,collectively.
So I think a big part of mypreparation for this piece is
really deep listening.
Rowan said before the scriptthe more we read it, the more we
(30:11):
find connections and layers.
I think that's really true.
I think we take a lot of time topause and talk about how
moments in the script relate tolived experience that we have,
that audience members may have,and how that shifts the way we
look and interact with them, andpart of it's just practically
paying attention to theemotional rhythms of the
rehearsal room.
(30:31):
When do we need a break?
When do I push Rowan to keepgoing?
When do we stop and hug?
Those are all things we'vethought about and I think such
an important part ofstorytelling or working as a
director is balancing the lightand the dark that there's plenty
of humor and jokes and laughterin our rehearsal space, as
there is in the performance.
Gina Marie Rodriguez (30:51):
My favorite thing that you said
there is when do we stop and hug?
And I'm mentally making my ownlist in my head about every
brilliant thing in my life andI'm adding that when do we get
to stop and hug?
But I may as well ask you, allthree of you, what's on your
list?
If you had to make a list, whatwould?
I don't know.
Give me two things.
Maybe, if you can, one or two.
Rohan Tickell (31:13):
So when I'm home and I've just been home I walk,
for I've shown Deirdre pictures.
It's these huge sweepingbeaches and I'll walk for four
hours and I'll see four people.
So when my foot hits sand, myfamily call me Bob when we're on
(31:34):
holiday.
And the reason I'm called Bobis because I head into the water
and they say where's Rowan?
And it's three hours later andthey say he's still out out
there and I'll just be 100meters offshore just bobbing.
So yeah, so the moment my foothits the sands, a brilliant
thing for me.
I love that.
And the other one I'll say isthe um, because it fits with.
(31:55):
New Jersey is, of course, andit's really cliched in that, but
is the sax solo from JungleLand?
Thank you very much.
Gina Marie Rodriguez (32:04):
I love it.
I love it.
Mark, did you have somethingyou wanted to add?
Mark David Boberick (32:11):
Yeah, I have a couple things.
An evergreen thing for me is thequote by Joan Rivers when she
said Life is hard, but it's evenharder if you don't laugh.
That really has been a verydriving like driving force for
me, I would say, because, youknow, there's this universality
that we're talking about withthis show and the whole reason
(32:33):
for the, for the, the supportwith the talk back thursdays and
everything, is that you knowthere's, there's a stigma that
needs to be ended and and withmental health, with with mental
health, and you know, but it's,but we're all going through it
Mental illness is so much largerthan anyone is giving a credit
for.
It's just it's, it's just aboutas universal as can be now too,
(32:56):
and that's, I think, what we'reall realizing is that mental
illness pretty much affects justabout everybody in some way.
So it's important that life isgoing to throw you curve balls,
but you really have to go withthe punches and you have to.
You have to laugh, you have tolaugh, and that's the beauty of
(33:18):
this show is that there is somuch laughter, and laughter is
the most healing thing ever.
So also the look I get when Ipick up my dog from the groomer,
which is not the same everytime.
The looks vary, but it's alwayssomething I'll take.
Gina Marie Rodriguez (33:38):
I love these lists so far.
Deirdre how about you.
Deirdre McLaughlin (33:41):
Definitely the first sip of coffee in the
morning.
That is high on the list for me.
Um, and it's such a simplething, but one that always feel
makes me smile.
Even bad coffee, um, I thinklong car rides with friends,
with lots of talking or singingto music is a brilliant thing,
(34:05):
and I think when someone tellsyou a story and you feel changed
after that.
It could be two sentences, itcould be two hours, but I think
that's a really brilliant thing.
Rohan Tickell (34:17):
Then I'll add one last one, not trying to get the
last word, but I just want toadd serendipity.
Gina Marie Rodriguez (34:22):
Yes, yes, I like that.
Well, I'll be stealing all ofyours.
Deirdre McLaughlin (34:30):
If I would say anything, it's about who's
this, who this show is for, andwhile I think that some of the
themes mean that it's maybe notnecessarily a show for children,
I think that anyone, from sortof teenage age to your great
grandmother, can enjoy this show, because it is about the way we
(34:52):
connect to the joys of life atall stages of life, and so it
really is a show for anyone.
Rohan Tickell (35:00):
I think it's a play about the top of the hill,
not the valley.
I really do.
Mark David Boberick (35:07):
I describe it as an exploration of hope.
Deirdre McLaughlin (35:10):
Yeah, that's what the list is.
Mark David Boberick (35:12):
And also one of the things I think that I
love most about it is that youknow I love theater that gives
you that moment, you know thatchill, that energy rush that
sweeps your body.
You that that moment, you knowthat chill, that energy rush
that sweeps your body and thatthose chills.
Theater that doesn't give youthose those moments and doesn't
make you feel something likethat is is not theater that I'm
(35:34):
interested in producing.
I will be honest.
But this is that show thattouches you in unexpected ways,
multiple unexpected ways andchanges you, and I'm excited
that we're bringing that to ouraudiences here in Cape May
because everyone deserves tohave that experience in the
(35:56):
theater.
Gina Marie Rodriguez (35:59):
East Lynn Theater Company's production of
Every Brilliant Thing runs fromJuly 31st through August 30th at
the Clemens Theatre for theArts in Cape May.
For tickets and moreinformation, be sure to visit
eastlyntheatreorg.
If you liked this episode, besure to review, subscribe and
tell your friends.
A transcript of this podcast,links relevant to the story and
(36:20):
more about the arts in NewJersey can be found at
jerseyartscom.
Thanks for watching.
Edited and produced by me, ginaMarie Rodriguez, executive
producers are Jim Atkinson andIsaac Cernodiez, and my thanks,
(36:46):
of course, to Mark David Boberic, deirdre McLaughlin and Rowan
Tickle for speaking with metoday.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
Thanks for listening.
This is Gina Marie Rodriguez and you're
listening to the Jersey ArtsPodcast.
Today's episode takes us toLondon, england.
Well, sort of Eastland TheatreCompany's production of Every
Brilliant Thing is currentlyrehearsing across the pond, and
I was able to steal a fewmoments with actor Rowan Tickle
and director Deirdre McLaughlin.
Joining us from Eastland'sheadquarters in Cape May is
(00:26):
executive director Mark DavidBoberic.
But what is Every BrilliantThing about?
Its synopsis reads a son createsa list of things worth living
for all in an attempt to raisethe spirits of his chronically
depressed mother.
He leaves the list on herpillow.
We know she's read it becauseshe's corrected his spelling.
Every Brilliant Thing is ahope-infused exploration of all
(00:50):
the joys that can be found inlife and a reminder that
eventually every storm runs outof rain.
The Telegraph called it funny,clever and surprisingly
uplifting, and Slant Magazinesaid it's one of those
incredible transformativephenomena of collective
imagination.
I call it a comedy with heart,but I'll let you listen to these
(01:11):
talented folks explain what itis they love about the show and
let you decide.
Stay tuned to learn more aboutevery brilliant thing.
Rohan Tickell (01:20):
We've been rehearsing this morning.
Deirdre McLaughlin (01:22):
We've been rehearsing all day, so Rowan's a
little peaked.
Gina Marie Rodriguez (01:25):
Oh my gosh Remind, remind me what time is
it there?
What is it?
Six o'clock it's five.
Deirdre McLaughlin (01:29):
Yeah, I flew overnight last night and um,
and there was a three-hour delay.
So between it all I'm I'm justlike, okay, the sun's out.
I mean I'd so much.
Rather I travel a ton for mydirecting work and it.
It is definitely easier in thesummer because as long as the
sun's out you can just go.
Ok, body like, we're awake atthe right time, we can do this.
Gina Marie Rodriguez (01:53):
Yeah, I can't imagine.
I cannot fly very well, so forme to have to do what you're
doing, it would end very poorly,very, very poorly.
All right, well, let's justjump into it, because I'm really
intrigued by this show, by thisstory.
I want to start with Mark,because I have a few questions
for you, just about practicalityof it all.
(02:16):
How did Every Brilliant Thingmake its way, or it's in the
process of making its way, fromLondon to Cape May?
So what has that journey beenfor you in curating your season
and obtaining this show?
Mark David Boberick (02:28):
Yeah, well, I would say maybe the answer is
actually it sort of made itsway from Cape May to London and
now it's making its way back toCape May.
It was a conversation startedlast summer between Deirdre and
I and you know, of potentialoptions for the theater to
(02:49):
explore and, interestingly, Iread the script and I loved it,
but I put it down and I didn't.
I was not immediately, I didn'timmediately think it was going
to be the show for us, not ashow I wouldn't want to do, but
where we were as a company, Ididn't immediately think it was
going to be the show for us, nota show I wouldn't want to do,
(03:13):
but where we were as a company,I didn't think we could actually
pull it off in the orientationand give it the justice that it
needed to have.
And then so many things havehappened since then and we're
now in this new space.
This is our first home in 45years for the company, our first
permanent home, so it's thefirst space that we can actually
control entirely.
So we've been in spaces,actually a history of being in
churches, but you know we hadbeen in a church here at Cape
(03:37):
May for at least 20 years and sowe would put our season on
there.
But it's still an active churchand so what would happen is
whatever we put on stage duringthe week would have to come off
after the Saturday show and thealtar returned to a worship
state and then on Tuesdayreverse, and then Saturday
reverse.
(03:57):
And so you know it has limitedwhat the company has been able
to logistically produce forquite some time.
But as the evolution of ourentry into this building evolved
and continued to become moreapparent, we realized that we
had the ability now to possiblyput something in here, and it's
(04:19):
really possibly 20 years in themaking, also because the last
thing Deirdre and I worked onand collaborated with was a
site-specific performance wherewe decided, you know, in our, in
our youth, to to try somethingradical, and for the time it was
, we decided to put a show in awarehouse, that it was never a
theater before, and so we have ahistory of of making that.
(04:45):
Part of the process and part ofthe fun actually is having is
having that, that, that problemto solve about how do you take
one space and transform it intoanother, and so it doesn't have
to be designed as a theater.
You can still.
You can still present art in it.
And so once we realized wecould be in this space, we
(05:07):
started to take a look at thatand I said I think it is the
right one.
I think that it's the firstshow that our company can
present in a totally differentway, because it's presented in
the round and we have theability right now, because we
just have a big open room withnothing fixed to the floor.
And so let's go for it.
Deirdre McLaughlin (05:24):
So, just to add to what Mark is saying, I
think a really important part ofthis play's history is that now
it's played, I believe, in over20, 25 countries, but it
originated in a space at theEdinburgh Fringe called the
Payne's Plough Roundabout, whichis a really popular place space
(05:45):
that's always got new writingperformed in a circle.
And at the very start of thescript, the first thing the
playwright clarifies is thatthis play should have no large
set, that everyone in theaudience should be seated,
ideally in the round, butultimately in the most
democratic way possible, so that, in addition to being able to
(06:07):
watch the performer, they canall see themselves.
The sense of community in thisperformance is such a big part
of the storytelling and becausethat is so important and can at
times be a little complex, Ithink that was part of why, when
Mark and I originally talkedabout the show, we said, oh,
we're not sure yet.
And then when we walked intothe new renovation together, we
(06:29):
said, oh, wait, no, this is theperfect space for curating that
really special type of audienceinteraction, and I think that's
an important context in relationto the show.
Gina Marie Rodriguez (06:40):
I really love that we your audience are
benefiting from your new spaceas well.
It's not only that it's easierfor you, but also that we get
such a wonderful show that ismeant to be presented in this
communal way.
I really love that you said thatit's a community event, because
, as you all know, this is ashow that is obviously dealing
(07:02):
with a lot of mental healthissues.
As you all know, this is a showthat is obviously dealing with
a lot of mental health issues,and I think that a lot of our
mental health issues nowadaysstem from this lack of community
that we're.
You know, we're living in thisisolated world and everything is
digital and we need to.
I think more people wouldbenefit from being in any
theater, let alone in in aroundabout like that, in a
(07:28):
roundabout like that.
But I kind of want to use thatto pivot to how you guys are
handling the mental aspect ofthis and how I know that you're
incorporating these Talk BackThursdays to make sure that you
are handling the subject matterwith care.
So can you talk whether that'sMark or Deirdre, talk to me
about how those TalkbackThursdays came about and how
they're designed to help youraudiences.
Mark David Boberick (07:48):
Yeah, sure, so I have.
In addition to being involvedwith the theater company, I have
several other businesses in thearea.
I have a floral design company,I have an event design company,
I have an interior designcompany, I have an event design
(08:18):
company, I have an interiordesign company and I'm also on
the board at the hospital, likethat board member that I needed
to be.
And just when I was thinkingmaybe it's time for me to let
someone else take a seat, thisshow comes along and I realized
that I have this opportunity nowto connect and, as Deirdre says
(08:39):
, community is such an importantpart of the show, such an
important part of the show.
I now have this ability toconnect with all of the people
that I have worked with indifferent capacities, now on
something totally brand new.
And it was important for mebecause mental illness is
something that has hit close tohome for me and my family that
(09:02):
you know, this show deals.
Show deals with this, thistopic, and it does so in such a
beautiful way that it neveralienates the audience.
But I felt like there needed tobe just one more element to it
and I and I felt like we had aresponsibility almost to
represent the science end of ofmental illness.
(09:25):
And so I immediately went to myfriends at Cooper and said this
is what I'd like to do, andwould you be on board for this,
could you help?
And they said not only are weon board, but we have a couple
other people in mind that wouldlike to be on board, I'm sure,
too, and so thus began thiswhole outreach to other
(09:45):
community partners.
And so you know, there's such agreat thing that's happening
here within this building, notjust the show being a sense of
community building, but thehistory of this space.
This is the historic Allen AMEChurch African Methodist
Episcopal.
It was built in 1888 and wasnearly destroyed by fire in 2018
(10:10):
.
This is located in the historicblack section of Cape May,
which is a.
The historic black section usedto be much, much larger.
It used to take over almostlike a quarter of the city.
What we know is like theWashington Street Mall, the Main
Street in Cape May was oncepart of the black section of
Cape May, so it's a lot.
The history of the of of of theblack people in Cape May goes
(10:34):
back a very, very long time.
It's a well-establishedcommunity.
The numbers have gone down whenthe fire hit this building in
2018, the congregation was downto just a few people it was like
seven people and they could notthemselves raise the money to
(10:54):
restore the building, and so thebuilding was endangered until
the city stepped in and setabout the process of renovation
and restoration and preservationin all three of those ways
restoration and preservation inall three of those ways and then
they approached us, knowingthat we did not have a home and
that we might be able to dosomething with this space.
But, at its very heart, churchesare places where people come
(11:15):
together to gather and tocelebrate.
These are community structures,and it's important for us as a
company that we're, you know,we're not just stepping into
this building that's so rich inculture and history without you
know, without acknowledging thatit's not originally ours and
(11:38):
we're not taking it forourselves.
We're going to keep it, we'regoing to hold space for other
people and we're going to holdspace for everybody, and we want
this to become a building thatbrings many people in in many
different ways.
And so, you know, it's just a abeautiful moment, really, of of
all this community stuff comingtogether in a, in a community
building that's being broughtback to life in this amazing way
(12:02):
and with these communitypartners.
So, deirdre, did you haveanything else to say?
I felt like I answered that toolong.
Deirdre McLaughlin (12:09):
Well, I'm sure we can move around, but I
think you answered it reallywell.
Okay, I think the simplest,small addition that I would say
is one thing that the story ofthe play makes very clear is
that mental health andwell-being, while there are
different steps we can take asindividuals, it's rooted in our
(12:32):
connection to others, and thatmay be one-to-one relationships.
It may be how other individualsin our lives help us better
understand ourselves.
It can be how we relate to thecollective and in that way,
remembering that all of thosedifferent, dynamic relationships
(12:52):
are an important part offacilitating mental health, I
think it became clear to us as acreative team that we wanted to
not just see thoserelationships exhibited in the
play and they are but to ask howwe could make space for similar
, varied interactions so thatit's really clear that Eastland
(13:17):
is interested in more than anaudience.
They're interested in forging acommunity.
Gina Marie Rodriguez (13:22):
I'm really adoring this community theme
that we have going on here.
I love what you're doing.
I'll say it that way I lovewhat you guys are doing.
But now I'd like to talk to theman of the hour.
Our star here, shall I go andget it.
Uh, our star here, go and getit.
(13:46):
Um, as we're talking about allof the the heaviness of of
mental health and theresponsibility that comes with
it, I'm curious how you, as theperformer, maintain your own
mental well-being while you'recrafting a character who is
himself living through such astrenuous point in his life.
Rohan Tickell (14:00):
Yeah, I don't know if you've read the play or
it's going to be.
When you come and see it it'llbe your first experience of it.
I think it's, and Deirdre will,I'm sure, support me on this,
that it's not that there aren'tmoments in the delivery, even in
(14:23):
the rehearsals as we werehaving them today, where moments
become piquant and brittle andpresent and immediate, but the
form of the play and the idea ofthe play and I think this is,
and the play is morphing andchanging underneath me every
time.
I sort of look at it andDeirdre will show me things that
I just haven't even noticed, orshe'll pull things up and I'll
notice things.
But it's more that the play notjust because it's done with not
(14:45):
a distance perspective, butit's done with a perspective of
history, future understanding isthat sometimes I'll put it to
you this way mental health inits public conversation is often
viewed in sort of hot pointideas, in spikes, in peaks,
those sort of things, in youknow, really really sort of
(15:06):
specific events.
And I think what's reallyinteresting about the play is
that it looks at sort ofdiffering mental health as not
the anomaly but as a constant,present conversation in these
connections, and this one justhappens to have a specific
connection between mother andchild and father and child.
(15:27):
But I do tell it in retrospect.
I do visit present moments, Ido describe them, but in general
I have a certain, I have theluxury of a certain distance
from it to look back on it andtry and draw the ideas together.
Does that make sense?
So it's not like I'm living.
(15:49):
And also, what's reallyimportant is it says very
clearly and you know, to quotethe lines in the play he says I
don't want it to seem like mymother was a monster or my
childhood was miserable, becauseit wasn't, but there are
moments and there are momentsand moments and it's actually
(16:09):
looking at a really interestingconversation is what is this
ongoing conversation with thatsort of aspect?
So I guess I found it reallyenlightening.
It's constantly sort of pushingat me to look at how those sort
of things are coming together.
And not the word fallout it'sreally pejorative but I don't
(16:31):
have anything better right nowbut kind of the fallout all
around who his father becomes,who he becomes and not to use
sort of a lazy comparison, butthe he that looks for every
brilliant thing in the world isenacted because of his mother's
struggles so we can look at.
Not that we would ever wish hismother's mental health
(16:53):
struggles upon her, but it's hisresponse and his reflex and his
way of finding his way throughthe world.
So I've just found it reallyinteresting to dig and dig and
dig and dig.
And at this point it's notcomplete for me.
So I guess I really won't knowuntil I play it night after
night and I meet other people inthe space and I see their
responses and how theirgenerosity of sharing the moment
(17:18):
with me, how that will affectme.
So I know that I'll respond inthose moments.
But in this moment I just findit kind of riveting in a human
way.
I'm just constantly in thatspace and I don't think that
there's anything in the play.
I really don't think thatthere's anything in the play
that I find frightening.
But I do find it surprising andI do find it of other
(17:40):
experiences and I guess asactors that old cliche about us
actors, that's what we want tostep into and look into it.
So when Deirdre handed me theplay and said you want to have a
read of this, and I said why?
And she said because I thinkyou would really like to play
this and I said yeah, but I Idon't think.
And then she said just go homeand read it.
And I finished it and I went ohdear, oh no, no, not even in
(18:06):
that read did I find that I wasfrightened of it.
I think as a piece it's reallyinviting.
I think as a piece it's reallykind.
I think as a piece it's reallywelcoming.
I think as a piece it's reallygenerous.
As a piece, I think it's reallygenerous as a piece.
I think it's really curious asa piece.
I think that it is reallydemocratic in the way it looks
at different experiences and sofor me, I'm not as ringmaster
(18:29):
but I get kind of to sit in themiddle of that rather than to
sit in sort of dangerous spaces,if that makes sense.
I hope some of that made sense.
I hope some of that made sense.
Gina Marie Rodriguez (18:37):
No, all of that made sense.
I think you explained it reallywell, and there was something
that you said in there that Iwant to clarify, because I'm not
sure.
If this is an interactive show,are you allowing audience
members to speak to you duringthe performance?
And I see Deirdre nodding.
Okay, that's unique to me.
It's incredibly unique, yeah.
Rohan Tickell (18:59):
Before Deirdre speaks, can I tell you something
from me, because Deidre canexplain this so well, but
something which involvesaudience participation.
I am that guy which is if youcome near me, I'm going to cry
or run because I've been anactor since I was 18.
But I promise you, if you comenear me and you want me to do
something, I'm going to cry orrun or maybe steal your stuff,
(19:25):
and that's not this.
Is that okay with you sayingthat?
Deirdre McLaughlin (19:30):
I want add something to the
conversation we've been having.
The first is to say so werehearsed the play and we ran
through the majority of it in aroom today with the two of us
and some artists.
We invited to watch and givesome feedback.
And I think some individualsmight be surprised, given the
nature of the conversation thatwe're having, that the dominant
sound in the rehearsal room islaughter, and that's because
(19:54):
life and challenges andresilience is often funny that,
yes, it's a play where thedominant activity, rowan's
character, spending the courseof his life making a list of a
thousand things in the worldthat bring him joy, the initial
catalyst for the making of thatlist is something depressing and
(20:18):
a little scary and sad, but themaintaining of the list and the
connecting it to all thedifferent people he encounters
with across his life is often areally joyful thing.
Yeah while there is definitelydiscussions of depression and a
brief reference to suicide inthe play, which we make very
(20:39):
clear because we want theaudience to be informed, I have
never and I wouldn't describethis as a play about suicide or
depression.
I would very much describe thestorytelling as being a play
about the lengths we go to forthose we love, about how we
often experience contrast in theups and downs of life and how
(21:04):
it's our connection to otherindividuals that help us
navigate where we're at and howwe feel about that.
And I think that's quiteuniversal.
And I believe the playwright'sintention, which I very much
hope that our production bringsforward, is to give the audience
, at the end of that hour and 10minutes, a sense of hope, a
sense of collective joy andpotentially, collective grief.
(21:27):
But I think when we experiencegrief it's always so much more
manageable when we do it witheach other, which is part of why
it is set up, so that we canall see each other.
Mark David Boberick (21:37):
Deidre, you have another term.
Sorry, you have another term.
That's what I was saying forthe audience participation.
You said it this morning.
Oh, yes, yeah yeah.
Deirdre McLaughlin (21:46):
So I resist the phrase audience
participation because, much likeRohan, when I as a as an
audience member and a theatermaker, when I go to shows and
I'm told there's going to beparticipation, I feel a pit in
my stomach.
The last thing I want to do whenI do a show is feel like I have
to be a part of it, and we talka lot about how.
(22:07):
In this show.
I would not describe it asaudience participation.
I would say that the audienceis invited to interact with the
story and it's really importantto say it's an invitation which
some will choose to take up andsome will not, and that's
completely fine.
And their participation intelling the story means that the
(22:29):
performance will be differentevery night, that one of the
most joyful parts of the storyis watching Rowan have to act on
his feet and interact with whathe's been offered, and I think
that will be a real joy for theaudience members.
But there is no necessity toparticipate other than to watch.
There's an offer or aninvitation to engage or become a
(22:53):
part of this character's world,this list of brilliant things.
In my experience, having seenthe show performed in its
original production and in quitea few productions, since most
audience members, once theyrealize what the invitation is
and how joyful it is, they'rejumping to take it up, and those
(23:13):
who would rather sit back andwatch can find a lot of joy in
that as well.
Gina Marie Rodriguez (23:19):
As someone who reacts similarly to the two
of you when told there isaudience participation, I really
really appreciate thatdistinction.
So thank you, and thank you,Rowan, for reminding Deirdre
that there is a better way toexplain that.
So my apologies for calling itaudience participation.
So for those listeners ignorethat.
(23:40):
It is not audience participation, it is an invitation.
Speaking of of how thisperformance will manifest, I do
want to talk to you, rowan,about what it is to carry a
one-man show right, because Ican imagine that most of us feel
the weight of that.
So can you tell us a little bitabout the benefits and or the
(24:01):
freedoms that are afforded toyou as a performer when, when
you don't have a partner?
Rohan Tickell (24:05):
Yeah, this is my first time taking on something
at this length.
Gina Marie Rodriguez (24:10):
Oh, wow.
Rohan Tickell (24:11):
This is the first piece I've I've ever had and
it's quite an interesting thingyou bring up because I've been
an actor since I was 18 and I'vedone nothing else I've done,
you know, basically I've neverdone an honest day's work in my
life, all those cliches but I'vebeen an actor all that time.
And if you asked me actuallythe first question whenever I've
(24:32):
done Q&As, when people say, youknow, what is it?
What do you love?
You know, why do you lovetheatre?
And I would instantly everytime say, oh, it's the
collaboration.
I remember when I was doingRock of Ages people would say,
oh, my God, the show's amazing.
What's the best part?
And I say the best part's thefirst moment when all of us turn
up on stage and I stand thereand I think you are not ready
for us.
You know, it's just thatfeeling of that.
(24:55):
So this is a new one.
It might seem like a strangething to cite, but I know from
Deirdre.
You know one of the reasons whyand we interact in all sorts of
spaces, we interact in academicspaces and those sort of things
Part of my journey over thelast 20 years is I spend a lot
(25:16):
of time nurturing young actorsin training spaces and a big
part of that is a bit of aone-man show.
It's kind of you're in a roomtaking care of 25 students, all
of whom are passionatelyinvolved in a very specific or
piquant moment, and it's tryingto make those journeys safe for
(25:37):
them but also introduce them toideas, holding them, you know.
I mean you know holding,holding their space and and
watching how they respond, butalso keeping that story going.
So, in a way, when Deirdre andI talked about it, one of the
the the nice side skillsets iswe knew that that was a skillset
I've been working on for thelast 20 years.
And so the meshing of those twoworlds of playing things like
(26:02):
Valjean working, being in Cats,you know, doing all those sort
of things, but also being aclassically trained actor doing
Shakespeare in those, and thenbringing that back now to a
space which, in a way, I've beenpracticing for for a long time,
it's really interesting.
And it's really exciting to mebecause it's not an alien space
for me.
I thought it would be.
(26:23):
Deirdre said, no, it won't,you've been doing this for 20
years.
And I step into the space and Isaid, oh, okay.
So I don't know if that answersthe question.
The challenges, of course, areno one gives you the cues, and
the cues, as Deirdre said, couldbe different every night and,
(26:43):
depending on someone's responseto what you're offering them,
they could offer you somethingvery different.
And until those sort of thingsstart rolling in, even in
rehearsals today, working withthese different artists, what's
beautiful and it's one of myfavorite things, and I guess
there's the collaboration is I'monly going to be as interesting
as you make me or as what youoffer me, because I'll go where
you take me, and so those arethe differences.
(27:04):
But yeah, it's a big challenge.
I was speaking to my wife aboutit and I said, well, you know,
I mean, maybe I don't do anymore acting after this one.
You know, just because we weretalking about things, she said,
well, it would be a hard act tofollow this play, and so, yeah,
it is a very specific experiencefor me.
I think, if you want to getdown into the weeds of technique
(27:25):
or ideas, the biggest thing forme is to understand the through
line and the very specificlogic of each thought, meeting
each thought, because a lot ofthis play seems I hate the
contemporary term random, but alot of it seems like they're
sort of random synapses firing.
But actually the beautifulthing about every time I read I
(27:47):
go oh, I see, that's why thatmoment happens, because back
here this happened, and so Iguess that's sort of a
three-pronged answer to whatyou're saying is one, it's a
very common place for me to be,but different.
Two, um, it's an expansion ofthe collaborative experience.
And three, it gives me a chanceto really dig into a human from
(28:11):
the age of seven all the waythrough, instead of being
restricted to just a specificsnapshot moment, which a lot of
plays do there are very few,very, very, very, very few plays
, certainly not plays of onlythis length, where you get to
kind of span 40 years of aperson's life and all of those
moments to be significant orinsignificant at the same time.
(28:34):
Does that help?
Gina Marie Rodriguez (28:35):
That was brilliant.
Honestly, that was one of theevery brilliant things in life.
But I had no idea what toexpect from that question and
that's why I ask it.
But I that just made me reallyhappy to hear that this is a new
experience for you, and yet notnew because you've been doing
it for so long.
But it took Deirdre pointingthat out to you to realize that
(28:58):
you'd been doing it.
You know you've been preppingfor this moment for the last 20
years.
I really love that and I guessthat brings me right back to
Deirdre, because you'reobviously a huge part of this
collaboration.
You are directing Rowan, so Iwant to know how you prepare
yourself for, for the care thatyou you have to give the themes,
(29:19):
but also your process ingeneral.
How do you approach the work?
Deirdre McLaughlin (29:23):
I think that one of the most important
things as a director on thispiece is to stay grounded in
empathy, not only for thecharacters but for the audience
and for the actor, and certainlyin rehearsal I've been focused
quite a bit at this time aboutwhat it's like for Rowan as the
actor and what that interactionwith the audience will be like,
(29:47):
so that everyone feels cared forand safe in that.
Now, Every Brilliant Thing isnot just about mental health.
It's about how we navigate it,how we survive it, how we hold
each other up individually,collectively.
So I think a big part of mypreparation for this piece is
really deep listening.
Rowan said before the scriptthe more we read it, the more we
(30:11):
find connections and layers.
I think that's really true.
I think we take a lot of time topause and talk about how
moments in the script relate tolived experience that we have,
that audience members may have,and how that shifts the way we
look and interact with them, andpart of it's just practically
paying attention to theemotional rhythms of the
rehearsal room.
(30:31):
When do we need a break?
When do I push Rowan to keepgoing?
When do we stop and hug?
Those are all things we'vethought about and I think such
an important part ofstorytelling or working as a
director is balancing the lightand the dark that there's plenty
of humor and jokes and laughterin our rehearsal space, as
there is in the performance.
Gina Marie Rodriguez (30:51):
My favorite thing that you said
there is when do we stop and hug?
And I'm mentally making my ownlist in my head about every
brilliant thing in my life andI'm adding that when do we get
to stop and hug?
But I may as well ask you, allthree of you, what's on your
list?
If you had to make a list, whatwould?
I don't know.
Give me two things.
Maybe, if you can, one or two.
Rohan Tickell (31:13):
So when I'm home and I've just been home I walk,
for I've shown Deirdre pictures.
It's these huge sweepingbeaches and I'll walk for four
hours and I'll see four people.
So when my foot hits sand, myfamily call me Bob when we're on
(31:34):
holiday.
And the reason I'm called Bobis because I head into the water
and they say where's Rowan?
And it's three hours later andthey say he's still out out
there and I'll just be 100meters offshore just bobbing.
So yeah, so the moment my foothits the sands, a brilliant
thing for me.
I love that.
And the other one I'll say isthe um, because it fits with.
(31:55):
New Jersey is, of course, andit's really cliched in that, but
is the sax solo from JungleLand?
Thank you very much.
Gina Marie Rodriguez (32:04):
I love it.
I love it.
Mark, did you have somethingyou wanted to add?
Mark David Boberick (32:11):
Yeah, I have a couple things.
An evergreen thing for me is thequote by Joan Rivers when she
said Life is hard, but it's evenharder if you don't laugh.
That really has been a verydriving like driving force for
me, I would say, because, youknow, there's this universality
that we're talking about withthis show and the whole reason
(32:33):
for the, for the, the supportwith the talk back thursdays and
everything, is that you knowthere's, there's a stigma that
needs to be ended and and withmental health, with with mental
health, and you know, but it's,but we're all going through it
Mental illness is so much largerthan anyone is giving a credit
for.
It's just it's, it's just aboutas universal as can be now too,
(32:56):
and that's, I think, what we'reall realizing is that mental
illness pretty much affects justabout everybody in some way.
So it's important that life isgoing to throw you curve balls,
but you really have to go withthe punches and you have to.
You have to laugh, you have tolaugh, and that's the beauty of
(33:18):
this show is that there is somuch laughter, and laughter is
the most healing thing ever.
So also the look I get when Ipick up my dog from the groomer,
which is not the same everytime.
The looks vary, but it's alwayssomething I'll take.
Gina Marie Rodriguez (33:38):
I love these lists so far.
Deirdre how about you.
Deirdre McLaughlin (33:41):
Definitely the first sip of coffee in the
morning.
That is high on the list for me.
Um, and it's such a simplething, but one that always feel
makes me smile.
Even bad coffee, um, I thinklong car rides with friends,
with lots of talking or singingto music is a brilliant thing,
(34:05):
and I think when someone tellsyou a story and you feel changed
after that.
It could be two sentences, itcould be two hours, but I think
that's a really brilliant thing.
Rohan Tickell (34:17):
Then I'll add one last one, not trying to get the
last word, but I just want toadd serendipity.
Gina Marie Rodriguez (34:22):
Yes, yes, I like that.
Well, I'll be stealing all ofyours.
Deirdre McLaughlin (34:30):
If I would say anything, it's about who's
this, who this show is for, andwhile I think that some of the
themes mean that it's maybe notnecessarily a show for children,
I think that anyone, from sortof teenage age to your great
grandmother, can enjoy this show, because it is about the way we
(34:52):
connect to the joys of life atall stages of life, and so it
really is a show for anyone.
Rohan Tickell (35:00):
I think it's a play about the top of the hill,
not the valley.
I really do.
Mark David Boberick (35:07):
I describe it as an exploration of hope.
Deirdre McLaughlin (35:10):
Yeah, that's what the list is.
Mark David Boberick (35:12):
And also one of the things I think that I
love most about it is that youknow I love theater that gives
you that moment, you know thatchill, that energy rush that
sweeps your body.
You that that moment, you knowthat chill, that energy rush
that sweeps your body and thatthose chills.
Theater that doesn't give youthose those moments and doesn't
make you feel something likethat is is not theater that I'm
(35:34):
interested in producing.
I will be honest.
But this is that show thattouches you in unexpected ways,
multiple unexpected ways andchanges you, and I'm excited
that we're bringing that to ouraudiences here in Cape May
because everyone deserves tohave that experience in the
(35:56):
theater.
Gina Marie Rodriguez (35:59):
East Lynn Theater Company's production of
Every Brilliant Thing runs fromJuly 31st through August 30th at
the Clemens Theatre for theArts in Cape May.
For tickets and moreinformation, be sure to visit
eastlyntheatreorg.
If you liked this episode, besure to review, subscribe and
tell your friends.
A transcript of this podcast,links relevant to the story and
(36:20):
more about the arts in NewJersey can be found at
jerseyartscom.
Thanks for watching.
Edited and produced by me, ginaMarie Rodriguez, executive
producers are Jim Atkinson andIsaac Cernodiez, and my thanks,
(36:46):
of course, to Mark David Boberic, deirdre McLaughlin and Rowan
Tickle for speaking with metoday.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
Thanks for listening.
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