Edinburgh Fringe 2024
SOS BRM
Spot on the Ceiling Productions
Genre: Dark Comedy, New Writing
Venue: The Spaces @ Surgeon's Hall
Festival: Edinburgh Fringe
Low Down
Brian is dealing with the loss of his best friend, and the fear and guilt that he may have played a part, that he might have been able to avert the events that have left his friend in a coma.
An engaging exploration of grief, loss and guilt, with a talented young cast that shows great promise for the future. This is a company to watch.
Review
Brian is dealing with the loss of his best friend, and the fear and guilt that he may have played a part, that he might have been able to avert the events that have left his friend in a coma.
After a month of isolating himself in his room, drowning in booze, and arguing with a hallucination of his best friend, Stiffy, Brian confronts the harsh truth that life and dying aren’t as simple as he once believed. Based on a real friendship, this dark comedy tries to answer a profound question: how do you deal with an earth shaking tragedy?
SOS BRN comes from Spot on the Ceiling Productions, a young company founded by Ophelia Fellhauer, Dexter Harding, and Cara Crozier-Cole. Fresh out of Exeter University’s drama department, they’re committed to “championing the voices of young storytellers, fostering a platform for raw, unfiltered narratives” and this play is a strong start. Harding’s writing balances comedy and poignancy with a deft hand, capturing the messy reality of grief and mental illness in a way that feels both dramatic and grounded.
In one scene Brian’s flatmates grapple with how to help him. They’re clearly concerned for his mental health but unsure where to turn – a situation that will feel all too familiar to many. The play captures the impact of loss on young people, who often view themselves as invincible, and the confusion and guilt that come when that illusion is shattered. The serious is balanced with a light touch as Stiffy is present but only visible to Brian, leading to some delightfully confusing moments as his responses make no sense to them.
Harding’s writing is nuanced, bringing the comedic and the poignant out through dialogue that is sharp and naturalistic, especially the banter between flatmates, which feels convincing and real. The gradual reveal of Stiffy’s fate is handled well, but the contrast between the Stiffy we see, flippant and lively, and the one we hear about doesn’t quite gel, perhaps because we only hear about his life at the point of crisis.
Despite the small stage, the production makes good use of the space using just a table and few chairs without too much scene changing or extraneous furniture.
The performances are strong across the board, creating a believable group of friends dealing with difficult issues.
Overall, SOS BRN is an engaging exploration of grief, loss and guilt, with a talented young cast that shows great promise for the future. This is a company to watch.
