Audience members become part of play in Lean Ensemble’s upcoming ’Every Brilliant Thing’

If you’d strolled through New York City’s Central Park over the past few weeks, you might have encountered a dark-haired, jean-clad man wearing headphones. If you edged closer, you’d discover that he was rattling off a list of strange, seemingly disconnected thoughts like “Mexican wrestlers … ice cream … badgers.”

A spy transmitting secret code? A stream-of-consciousness street poet? Or just one of those oddball New York characters who wander about spouting strange notions?

None of the above. Indeed, you’ve just encountered actor Matt Mundy becoming one with his role of “the narrator” in Lean Ensemble Theater’s December production of “Every Brilliant Thing.”

His solitary practice is preparation for an audience-immersive show — a one-act, one-man experience that brings Mundy up-close-and-personal with theatergoers.

Every night before the show begins, Mundy will hand out numbered notecards, each with “one brilliant thing” that makes life worth living written on it. Then buckle up. You’re about to embark on a lively and funny-yet-poignant roller coaster ride looping around one man’s journey through depression.

As he tells his serio-comic story, Mundy will call out a number and you, in the audience, get to read out what’s on your card. And, if you’re tagged, you may even get to “play a role” in the narrator’s life — father, girlfriend, guidance counselor, veterinarian.

The production takes place in SoundWaves on Hilton Head, which has been reconfigured as a theater-in-the-round, only two rows deep so that you’re never far from the action.

I caught up with Mundy between Central Park strolls, and he offered his thoughts on this much-acclaimed play written by playwright Duncan MacMillan and British stand-up comedian Jonny Donahoe.

What drew you to the play?

Not only is it one of the funniest plays about depression, but what it really is is a funny story to remind ourselves that being vulnerable with each other takes a lot of courage, but it’s necessary.

What’s more, the show is immersive, personal and sweet without being saccharine. It’s truthful without being bludgeoning. It’s loving without being sentimental, and it’s funny without being trite.

Playwright Duncan Macmillan called “Every Brilliant Thing” “a conversation with the lights on.”

I totally agree. It’s a discussion in broad daylight about things we typically sweep under the rug or pretend aren’t there. Keeping things hidden actually makes relationships more difficult and creates places of shame, which just compounds itself.

Also, one thing we talk about at Lean Ensemble is leaning forward, having a conversation. And, that’s exactly what this show is. Yes, I have a script. Yes, I have a story to tell, but just like at any dinner party it’s “Oh, that reminds me of a story” and you end up in a conversation. There’s a lot of back and forth.

This is a play with no barriers or walls, so you’re essentially working “in the round” surrounded by the audience. What are the challenges for you as an actor with this kind of set up?

I’ve done this before, and it’s fun. You can never stand still for very long, or someone’s going to be looking at your back for too long. Again, it’s like being at a cocktail party. If you see someone who’s holding court and telling a compelling story, people gather around.

How do you go about selecting who will read an individual “brilliant thing” and who will play one of the small roles?

I’ll be talking with the audience before the show begins, and it will just come naturally from relationships born out of a “Hey how are you?” It’s me perceiving or looking to the response people have of “take me” or “please don’t take me.”

There’s an immediate barrier that comes down because the audience recognizes they may be thinking “Oh, please don’t take me,” but what’s beautiful is that, emotionally, they end up saying, “I’m so glad you picked me.”

And it’s fun. It’s not one of those “Oh, gosh are you’re going to embarrass me?”

So if someone is very uncomfortable, you wouldn’t pick them?

Oh, absolutely not.

What do you hope we come away with?

I do hope that you’ve heard a good story and that you’ve enjoyed participating whether you were just sitting there or I spoke to you directly. And maybe the experience can be a jumping off point so that later that night or two weeks or a year later you can begin a difficult conversation with a loved one.

And at the play’s very core it gives us permission to indulge in the simple things that, when shared, become “brilliant things.” Like ice cream!

If You Go

What: Lean Ensemble Theater’s production of “Every Brilliant Thing” by Duncan MacMillan with Jonny Donahoe

When: Dec 12-14, Dec 19-21 at 7:30 p.m. Dec 15 and 22 matinees at 2 p.m.

Where: SoundWaves at 7 Lagoon Road on Hilton Head Island

Tickets: $25 preview night (Dec. 12); $40 all other performances; $15 students/active military. Group rates available.

Details: www.leanensemble.org or 843-715-6676