The show, as presented by Macmillan and Donahoe, made its debut in its current format at the Ludlow and Edinburgh Fringe Festivals. Donahoe later took the lead in an off-Broadway version at the Barrow Street Theatre in 2014. Since then, the production has been performed hundreds of times both regionally and internationally. By 2024, it has been translated into 66 languages and staged in 63 countries.
Ross attributes the play’s extensive reach to the universal nature of its themes. “Even though it is not my story, it feels like every emotion inside it belongs to me,” she explains. “Regardless of the state of the world, feeling that kind of hurt inside is inherently human, with or without a reason. This play emphasizes that change is possible and highlights the brilliant aspects of life that make it worth living.”
A distinctive feature of the play is its interactive element, where audience members take on roles such as family members and teachers. Amid the United States’ ongoing mental health crisis, Ross finds joy in engaging directly with the audience, viewing it as a collective celebration of life.
“My role is akin to a conductor, filling the space with wonder and connection, setting the tone for everyone to thrive. There’s no wrong way to participate, and mistakes are welcome,” Ross shares. “One participant who played the lecturer admitted, ‘I’m nervous,’ to which I responded, ‘So am I. Let’s be nervous together.’ I am deeply grateful to those who confront their nervousness and discomfort, embracing the uncertainty to join me in the moment.”
Photo: Matthew Murphy
Ross further expresses her passion for acting, saying, “It’s why I love being an actor—both for sharing the human experience and for the connection with others. This show feels perfectly suited for that.”
