Review: Brace Brace, Royal Court Theatre

Entering the room, Ray (Phil Dunster) and Sylvia (Anjana Vasan) tell us of their meet-cute, aware of and talking to the audience we hear the funny and charming story of how they fell for each other and the steps that lead to them, newly married, boarding a plane for their honeymoon. They warn us that the story is going to get bad. While this isn’t a true story, its writer, Oli Forsyth, was a passenger on a hijacked British Airways flight. So, while Forsyth has mined this for drama and created his own characters and story out of it, a lot of the details of the hijack really did happen.

The set dazzles, designed by Anna Reid and working hand in hand with sound by Paul Arditti, lights by Simeon Miller and movement direction by George Mann – for a few seconds the Jerwood Theatre Upstairs turns into a hijacked aircraft, for just that briefest, terrifying moment you will believe you are transported onto an out of control aircraft. It is a visceral intense sequence that is huge credit to director Daniel Raggett and his team here. It’s rewarded with loud gasps from all around the audience.

The tension continues with absolutely superb choreography by fight director Alex Payne as Ray and Sylvia tackle the hijacker – again the fight feels real and in such a small space, it feels life and death for us all. Both Dunster and Vasan are excellent, both make the most of big roles with space for a lot of emotions, the youthful fun of falling in love, the physicality of the hijack and then the trauma of the aftermath. Each remains utterly committed and believable, their chemistry sparkling. Craige Els is the terrifying hijacker, more of a shape in the dark, who then takes on several other supporting roles with aplomb. 

Despite the shocking depiction of the hijacking, Brace Brace is more interested in the aftermath, showing how Ray and Sylvia cope with their trauma in different ways. Ray clings to his belief that there is still good in the world, while Sylvia spirals into paranoia, convinced that the hijacker – found mentally unwell then released without charge – is faking his illness. These conflicting approaches not only challenge each other but strain their relationship. Their versions of the hijacking become so deeply ingrained that they shape their core being.

There are intriguing questions about perspective and memory: who has the right to define what truly happened? Early on, Ray suggests that Sylvia has a false memory, while at other moments, Ray – who was unconscious during parts of the hijacking – can only rely on Sylvia’s account, with her insistence that only she and the hijacker truly know what happened. This highlights a compelling dynamic: how two people, in the same place at the same time, can experience a traumatic event in such profoundly different ways.

However, this intriguing exploration of trauma feels somewhat underdeveloped. The striking set-pieces at times overshadow the deeper story. The direct address to the audience by Ray and Sylvia creates uncertainty about the setting of their story; who exactly are they speaking to, and why? There are lingering questions left such as Sylvia’s reaction when Ray returns from flying to Greece that feel unexplored.

That said, Brace Brace is clearly a collaborative triumph. The lighting, sound, set, and choreography all complement each other beautifully, and the performances are uniformly excellent. Despite some reservations about the script, I found myself still carrying the tension after the show ended – ten minutes in to the walk to Victoria Station I realised I was still holding my breath. More work is needed but this is still an exhilarating evening. 

Written by: Oli Forsyth 

Directed by: Daniel Raggett

Design by: Anna Reid

Lighting Design by: Simeon Miller

Sound Design by: Paul Arditti

Fight Direction by: Alex Payne

Movement Direction by: George Mann

Brace Brace plays at Jerwood Theatre Upstairs Royal Court until 9th November. Further information and tickets can be found here.