Brace Brace at the Royal Court – review

A play not for the faint-hearted, and especially those fearful of flying, this intense three-hander from Oli Forsyth explores in vivid and often shocking detail the impact of a plane hijacking.

Sylvia (Anjana Vasan) and Ray (Phil Dunster) are a familiar young couple; she a digital marketer, he a wannabe comedian-turned-teacher, who meet at a house party and marry soon after. But their giddy romance is shattered when, en route to their honeymoon, the plane suddenly plummets towards the sea at the hands of a crazed passenger (Craige Els).

This incident, which arrives quite early on, is staged with visceral immersiveness, on a large illuminated catwalk cutting through the middle of the stage, with rows of lights flanking the traverse seating like porthole windows. It’s a real coup de theatre and huge plaudits belong to director Daniel Raggett and the creative team, including Anna Reid (designer), Simeon Miller (lighting) and Paul Arditti (sound).

The aftermath of the hijacking provides the meat of the drama, as Sylvia must come to terms with being the hero of the hour, and Ray with his status as a forgotten man. But things take a dark turn when it’s revealed to Sylvia during a TV interview that the hijacker himself has been released, having successfully argued he was not of sound mind.

The play, which is based on Forsyth’s personal experience, explores the aftermath of trauma, and how we come to terms with it, with resonant detail. Sylvia’s insistence that the hijacker is lying about his mental health butts up against Ray’s need to believe it was an unfortunate accident (“a plane fell out of the sky, and we happened to be on it”). Both positions feel like a denial of reality, even though both are undeniable. What does seem clear is that neither of them receives adequate support (the airline sends them a few thousand pounds and two free plane tickets).

The performances are engaging and the central pair combine well together, Vasan increasingly resembling a cat on hot bricks as her nerves fray, while Dunster – who was supported on press night by several Ted Lasso teammates – effectively carries our sympathies as a man still trying to believe the world is good. Els, who plays multiple roles besides the hijacker, brings an imposing physical presence that makes the violence (superbly choreographed by fight director Alex Payne) all the more intense.

Despite its verisimilitude, the play doesn’t always feel like it knows what it wants to say, beyond highlighting the way traumatic experiences manifest in different ways. But it undoubtedly provides one of the most memorable experiences I’ve had in this space and handles a difficult subject with originality, heart, and surprising amounts of humour – as evidenced by the playing of “Come Fly With Me” as the audience files out.