Brain Play

National Theatre - Dorfman

Part of the 2025 National Theatre Connections Programme

The challenges associated with growing up are difficult to navigate, even without an unexpected and traumatic event that turns your life upside down. Mia always waits for her dad to come home before she goes to sleep, but one night, she dozed off before her dad came home and he was involved in a traffic accident that resulted in his admission to hospital. Since then, she battles with her own guilt and anxieties as she begins to research everything linked to her dad’s conditions and alienate those around her.

Using a large ensemble of actors, the play is able to create the complexity of the human brain, and showcase how the voices overlap and how the chaos that exists within our minds cannot be tamed. Lawrence-Taylor and Sirett double down on this by introducing the audience to Mia’s closest friends, each of whom has their own unique quirks and personalities. The script subtly highlights that Mia is not only fighting against her own inner demons, but must also contend with the society around her. While her world might have come to a stop following her dad’s accident, the lives of others continue to move forward, planting the seed for the rift that forms between her and others.

Mia’s character is complex and exceptionally well developed. Through interactions with others, some of which cleverly depicted through puppeteering of clothing to enrich the stage, provide the audience with a deep dive into her thoughts. The intricacies of some of these marionettes should be applauded, with efforts put into the physical ticks such as the crossed legs and feet movement. The contrast of her character pre- and post-accident is stark, ensuring the impact of the event is fully acknowledged and felt by audience members.

While Mia’s character is fleshed out, there are rooms for improvements for her friends, who play more stereotypes including a troubled teen with family issues, a comedian and a goody two shoes cousin. While each contribute towards the narrative and play a role in developing Mia’s character and progressing the plot, much of their roles could be perceived as convenient plot devices. For the purpose of a one-hour play, it could be beneficial to reduce the number of named characters, merging some of their roles.

The emotional state of Mia’s father is another arena that could be further explored. The narrative alludes to the fact that the accident has had a significant impact on him, potentially damaging his hearing forever, a particularly devastating issue given his profession as a musician. The story has shown glimpses of his depression and avoidance of the topic, leaving the audience wanting more with regards to his coping mechanisms and also more nuanced explorations into his relationship with Mia as she tries to navigate their circumstances.

Working within the constraints of the programme, Brain Play has managed to deliver a relatable story with a nuanced and complex heroine, providing an excellent springboard for further development.

Written by Chloë Lawrence-Taylor and Paul Sirett

Performed by Chatham and Clarendon Grammar School (Ramsgate)

Photo credit: Foteini Christofilopoulou