Everybody - A Play Response

 A response to Seattle Pacific University's 2023 production of Everybody by Brandon Jacobs Jenkins

This spring, SPU Theatre put on a production of Brandon Jacobs-Jenkins’s Everybody. This play, directed by Bretteney Beverly, is a modern adaptation of the medieval morality play The Summoning of Everyman. Everybody and its predecessor center around the human fear of death, following the main character, representing humanity, on their descent towards their inevitable meeting with God. The audience observes the experience of death and the decay of the human body through interactions with other actors, who represent traits like Love or Understanding. At Everybody’s end, we watch as humanity goes to their grave, observing the most routine yet intimidating cycle of existence. SPU’s production featured scenic design by Jordan Gerow, light design by Kristiana Matthews, costume design by Erica Manzano, and sound design by Joseph Swartz. 

Within the production, which was done in the round, minimal set decorations and props were used, but the environment was designed to emulate a large tree. The cast, before donning their respective virtue or item-based costumes, is dressed in muted browns and greens, blending in with the set’s particular design. The lighting carries this vision as well, tending toward greens and oranges in most scenes. While the sound does not directly relate to the set’s organic design, it harkens back to the script in other ways, adding necessary atmosphere to important moments.

The design elements on display in Everybody immersed the audience in some ways but also sought to combat preconceived notions of theatrical performance. The set is incredibly minimal, and while the lighting and sound do serve to accent the show at times, they also dramatically alter the stage’s presence at certain points. Within the show, the character of Usher serves to open the performance, bringing the audience context before the play begins. They enter multiple other times as well, breaking immersion in a way that isn’t typically seen in theatre. During these interjections, the lights and sound change to emulate the less intense light and cheery music the audience heard during seating pre-show, in an effective attempt to ease tension. Moments such as this display the show’s unique design, and how the audience is utilized to its full extent.

In Everybody, as previously mentioned, there is a character with the intent to immerse the audience in the concept of the show, Usher. They are present at the start and end of the show, with a brief interjection a few scenes in, but the actor playing Usher has two other roles as well, one of which being God. In the exposition portion of the show, God speaks through Usher in the first dramatically lit cue of the production. As Usher transforms into God, the lights go dim with a light green spotlight upon the actor and the sound is dramatic, with rushing air and powerful wind sounds. The actor, despite being dressed in the shirt of SPU Theatre and a fairly typical outfit, now represents God, with a booming voice accentuated by a hidden mic. This type of segment happens one other time in the show, when Death becomes angry with humanity as they plead for mercy before they must go, but the lights shine orange and Death’s deafening voice is much more intense than regal. These portions allow the audience a view of the hierarchy represented on stage. Everybody and the other actors are simply human, while Death and God are not, which provides motivation and understanding in the contextualization of this play’s world.

Another moment in this show that emphasized the effort of the design team was at the very end, as Death leads Everybody to their grave. Accompanying the duo are other characters representing bodily traits and functions, and Love. As the characters’ death comes nearer, everyone but Love eventually abandons Everybody, representing the loss of a body as it grows older and comes closer to death. During this pivotal scene, a mint green light illuminates the stage and actors, mirroring a sickly green-yellow hue often observed in scenes of death. As Everybody and Love prepare for the journey ahead, the stage itself is mirroring the decay of a body before passing. Above the main stage, tree branches and driftwood dangle from the sky, a parallel to the tree stump painted on the floor, and these branches look like bone under this green hue. Everything on the stage seems to mirror death, and without the crowd of other actors on stage, the loneliness of this process is tangible. Everybody is dying, and so will you, someday.

I had the pleasure of being the light board operator on this show, so I saw it many times throughout the tech and show process. Hearing the thought put into the show’s design by both the lighting and sound designers as cues were being constructed allowed me to appreciate the show in its entirety, but also allowed me a view into the anticipation of a finished product. I believe the lights and sound specifically were incredibly effective in creating a space for this show to be experienced, moreso even than at creating a world. Everybody is an incredibly abstract show at times, so nothing should feel concrete, but the set should be relatable enough that an audience can identify with the show’s process and message. The symbolism of a tree, a common interpretation of life and growth, featured in a show about life’s end, was incredibly symbolic and effective. The designers of this show created a space for experiences rather than familiarity, which definitely aided in the show’s overall presentation.

    Aside from the tech itself, this show was simply a fun watch. I found myself wishing to experience it as a one-time audience member like many I saw during performances, to witness the entire show fresh. However, I do not regret working on it, as the experience gave me a view into the tech process that I had not witnessed before. As a creative, Everybody gave me inspiration from its innovation. The show was different from many well known productions for many reasons, but what stood out to me was a constant regard for the audience. From the God speech addressing humanity alone to the lights consistently playing with the audience’s immersion, this show used the audience as a character, one that they knew would be reacting and feeling the production. Having this sort of insight, especially for a show as involved as this one, is incredibly admirable and inspiring. Either way, Everybody was a pleasant experience that broke my expectations around theatre and created a uniquely designed theatrical space.