Daniel Radcliffe returns to Broadway in Duncan Macmillan’s “Every Brilliant Thing,” staged at New York’s Hudson Theater. The play turns the audience into performers, with volunteers reading out “brilliant things” and stepping onto stage as the protagonist’s father, love interest, or counselor. The format, first tested in 2016, has now reached 66 languages and over 200 U.S. productions in last year.

Before each show, Radcliffe dashes the lobby, handing out cards that cue audience members to shout delights like “Ice cream!” or “Water fights!” The associate directors sift through ticket holders, choosing those with a “kind, open vibe” to play onstage. Security teams guard the lead, while trained actors help nervous volunteers stay centered, ensuring the narrative stays true to its theme of community.

The interactive model turns a single Broadway night into a collective exercise in empathy, attracting theatergoers who crave participation. By monetizing engagement—selling tickets that grant real stage time—Broadway taps a niche market that values experiential entertainment. The success of “Every Brilliant Thing” signals a shift toward audience‑driven storytelling, offering producers a scalable blueprint that blends live action with community connection.