Once upon a time, a young Daniel Radcliffe found joy in simple pleasures: watching Bart Simpson, tuning into ‘The Fresh Prince of Bel-Air,’ bouncing in bouncy castles, and savoring vinegar-drenched French fries on less-than-sunny English beaches (his words!).
This was long before his global fame, his move to New York, or becoming a parent. Yet, recently, he’s found himself reflecting on these small joys, all while preparing for his upcoming Broadway role. In this poignant play, he portrays a character who, as a child, begins compiling a list of life’s ‘brilliant things’ to help his struggling mother find reasons to live.
Radcliffe, now 36, admits his return to Broadway is unexpected, even for himself. After winning his first Tony Award in 2024 for his powerful performance in ‘Merrily We Roll Along’ – a project that consumed nearly two years – he had planned a hiatus from the stage. With a young toddler, a new television series, and a personal writing project underway, his plate seemed full.
However, a determined director managed to get the script for ‘Every Brilliant Thing’ to Radcliffe. Despite never having seen the production, he was immediately captivated by the kind of challenge that has defined his unconventional career: ‘This looks risky. I have to do it.’
He shared in our conversations, ‘Sometimes I notice myself getting a little too settled, feeling like it’s been a while since I genuinely pushed myself into something frightening.’
He added, referencing a David Lynch quote, ‘I’ve seen this idea circulating that all significant learning comes from trying something new, and I believe this role will be exactly that for me.’
The unique challenge lies in the play’s structure: Radcliffe is the sole official cast member, but not the only performer. ‘Every Brilliant Thing’ is an interactive monologue that relies heavily on voluntary audience participation. This means an actor, recognized globally for playing Harry Potter and inspiring a complex mix of adulation, familiarity, protectiveness, and wonder in millions, will engage in improvisation and role-playing with strangers, eight times a week.
He acknowledges the potential complexities: ‘It can be tricky, given how some people react to celebrities. However, I also sense a widespread affection for Harry Potter, and by extension, for me. I’m hopeful this goodwill will encourage audience members to enthusiastically participate.’
‘Every Brilliant Thing’ offers an 85-minute journey into gratitude, grief, coping mechanisms, and human connection, interwoven with music. Originating two decades ago as a short monologue by Duncan Macmillan in England, it was later expanded into a full-length play by Macmillan and comedian Jonny Donahoe, with Donahoe giving its first performance in 2013.
Since its debut, this acclaimed production has graced stages in 66 countries and 44 languages. Noteworthy performances include Phoebe Waller-Bridge in a festival tent and Minnie Driver in the West End. It has even been performed in living rooms in Bangladesh and by a rotating cast of 11 actors in Argentina. Jonny Donahoe, who has played the role over 400 times, also starred in an Off-Broadway run in 2014, available for streaming.
Radcliffe purposely hasn’t watched previous performances, aiming to develop his unique interpretation. He has, however, delved into the script’s 73 footnotes – Macmillan’s evolving collection of insights and anecdotes from past stagings. These notes are adapted for each new performer and setting; for instance, a special nod to Bart Simpson is included for the ‘Simpsons’ superfan, Radcliffe.
The Relatability Factor
The play will be performed at the Hudson Theater, a venue with approximately 975 seats, marking its largest staging to date and coincidentally, the same theater where ‘Merrily’ was revived. During an interview in a spacious lounge there, Radcliffe spotted himself in a cast photo on the wall as we prepared to sit. With a chuckle, he exclaimed, ‘Oh, no, not under that,’ and promptly suggested we move.
In person, Radcliffe exudes a notable presence. While maintaining clear boundaries in conversation, he is also remarkably patient, down-to-earth, acutely self-aware, and profoundly reflective about his acting career and artistic process.
Our discussion frequently touched upon fame, a particularly relevant topic considering how it might influence a solo performance with significant audience interaction. Everywhere Radcliffe goes, people are eager to approach, connect, and confide. He remains gracious, but managing such interactions is demanding. He often wears a hat and mask when out, noting that a perk of his current life stage is that his friends prefer to socialize at home.
During a rehearsal, it struck me that the play’s themes might encourage some audience members to approach the stage door, eager to share their personal struggles. Radcliffe, however, is no stranger to this. ‘It’s been happening for years,’ he explained. ‘I’m accustomed to intense interactions, some wonderfully touching, others where I gently suggest they seek professional help.’
Jeremy Herrin, co-directing the Broadway production with Macmillan, believes Radcliffe brings a unique dimension to the role: audiences recall him from childhood, which could intensify their experience of the character’s early life stories. Herrin commented, ‘He possesses an everyman quality, doesn’t he? A certain optimism and inherent resilience.’
Radcliffe views his connection to the character slightly differently. ‘I relate deeply to this character, both in how sadness affects them and how they discover joy,’ he shared. ‘I’ve known sadness myself, and I’ve also felt the helplessness of witnessing others struggle.’
Without going into further detail, he added, ‘At 36, if you haven’t encountered someone grappling with hardship, you’d be a truly exceptional individual.’
Opening for previews on February 21, this play is one of Radcliffe’s two current endeavors. He is also co-starring with Tracy Morgan in a new NBC sitcom, ‘The Fall and Rise of Reggie Dinkins.’ The show features Morgan as a disgraced football player who enlists a struggling filmmaker (Radcliffe) to orchestrate his comeback.
Morgan expressed his admiration for his new colleague, praising Radcliffe’s humility, kindness, and humor. He also noted an unexpected bonus: ‘Working with Daniel Radcliffe, I officially became a cool dad.’
By now, the diverse and often surprising trajectory of Radcliffe’s career since his Harry Potter days has become a signature trait. Bryan Cranston, himself an actor known for transitioning between screen and stage, remarked, ‘Few have managed such a smooth transition. He’s genuinely committed to theater, and it serves as a fantastic outlet for his talent.’
Prior to the final ‘Potter’ film in 2011, Radcliffe had already made his Broadway debut in 2008’s ‘Equus,’ famously involving nudity. On screen, he even portrayed a flatulent corpse in ‘Swiss Army Man.’ Robert Carlock, a creator of ‘Reggie Dinkins,’ observed, ‘His choices are clearly creatively driven, not solely financial. It genuinely looks like he’s having a blast.’
Radcliffe acknowledges the rare privilege he has: choosing projects based purely on personal taste and creative appeal.
He stated, ‘A key strength as an actor, for me, is knowing what I excel at and what isn’t quite my forte. I particularly enjoy roles that are sweet and kind-hearted, but with a touch of the weird or a hint of darkness.’
When asked why he continues to work despite financial independence, he chuckled, ‘It’s a curious question. I’ve been working since I was nine. I simply don’t know life without this sense of purpose. We all need something to occupy ourselves until the end, and acting is a wonderfully enjoyable way to do that.’
Balancing New Responsibilities
However, becoming a father has undeniably altered his career choices. Radcliffe noted, ‘The threshold for projects that would pull me away from my family has certainly risen.’
Fatherhood also motivated him to finally quit smoking. He admitted, ‘I’d smoked long enough. Frankly, I started having intrusive thoughts about my own mortality and the fear of not being there as he grew up.’
He initially declined an offer to perform ‘Every Brilliant Thing’ in London, preferring to stay in New York with his girlfriend, Erin Darke, and their son. However, he was open to a Broadway run, as performing mostly at night allows him to cherish daytime hours with his child.
He described his son as ‘this ball of joy – so happy, funny, and sweet – which I find both beautiful and, at times, heartbreaking.’ He added, ‘I feel incredibly protective, and I suddenly grasp every parental instinct to home-school and retreat to nature.’
His son is currently too young to comprehend his father’s profession or the global phenomenon of Harry Potter. When asked if he’d read the ‘Potter’ books to him, Radcliffe replied, ‘If he shows interest, absolutely. But I won’t push them; I believe he’ll discover them on his own eventually.’
He even considered, without dismay, the possibility that his son might first encounter the ‘Potter’ world through the upcoming HBO series, rather than the original films. ‘Hopefully, I can just turn it on, and he won’t have to watch me in it. That would honestly be perfect.’ (Regarding his public disagreements with J.K. Rowling on gender identity and their impact on his views of the franchise, he offered no comment, stating, ‘The moment I discuss that, it overshadows everything else.’)
Radcliffe’s run in ‘Every Brilliant Thing’ is slated to conclude on May 24. He hopes ‘Reggie Dinkins,’ filmed locally in New York, will become a long-running series. Additionally, he’s signed on for the Vietnam War thriller ‘Trust the Man.’ Ultimately, his ambition is to direct his own films.
He expressed a strong desire to direct, specifically for film, not theater. ‘I don’t have an innate theatrical sense for staging, but if Malcolm Gladwell’s 10,000-hour rule holds true, I’ve logged countless hours on film sets, so I should be able to manage directing a movie,’ he explained. He also mentioned he’s been refining a script ‘for ages.’
Radcliffe emphasized, ‘I’ve always wanted my directorial debut to be something I’ve written myself. That way, if it doesn’t quite hit the mark, at least I’m only messing up my own work.’
Before pursuing directing, his immediate focus is Broadway, where he faces the demanding challenge of improvising with audience members. Macmillan aptly described managing this interaction as ‘a definite high-wire act.’
Prior to each show, Radcliffe and his team will discreetly seek out audience volunteers to read excerpts from his character’s expanding list of ‘brilliant things’ and to embody various pivotal figures in the narrative.
Radcliffe assures potential attendees that participation is entirely optional. ‘I understand many people’s reservations about audience involvement,’ he stated, ‘so absolutely no one will be coerced into anything.’
He’s already gained some personal experience with audience interaction. Last year, he was a guest speller in ‘The 25th Annual Putnam County Spelling Bee.’ More recently, during rehearsals for ‘Every Brilliant Thing,’ stand-in audience members have been crucial in helping Radcliffe navigate potential scenarios and perfect his approach.
He believes, ‘The unique contributions from the audience each night are truly going to make this show an absolute joy to perform.’
As for his motivation, he shared, ‘I’m doing this because it’s engaging, fascinating, and a fantastic theatrical experience. But beyond that, I believe its message holds significant importance – something that could be genuinely vital for someone to hear. I’m not claiming this show saves lives, but it certainly champions the desire for people to stay alive.’