We open in Belfast in the middle of the night. Niall (Cormac McAlinden) calls his older sister Brigid (Catherine Rees) and although she can’t see him, we witness as he repeatedly breaks down while trying to maintain a normal conversation with her. After hanging up, he flicks a lighter and sets his own hand on fire.

In the scenes that follow, we move into a medical setting, where Brigid is informed of the incident and the steps she’ll need to take to keep Niall safe (including a ban on all films that so much as mention lighting fires). As he moves in with her, we learn of the long waiting lists, overwhelmed support lines and mounting counselling demands facing Northern Ireland’s healthcare system. Niall experiences several episodes under Brigid’s roof and although these moments are harrowing, the pair’s banter and connection in scenes that follow cuts through the darkness. There is also an unspoken agreement not to tell their parents about what has happened – a decision that is hinted at but never fully explored.

Although the play centres around self-harm, it never becomes relentlessly heavy. Stylised interludes, supported by visual and sound cues give us room to breathe and digest the previous moments (also shout out to Zoë Hurwitz’s incredible set design). If anything, I found myself wanting more insight into Niall’s past and what led him to this point – aspects the play never quite reveals. Brigid eventually introduces her boyfriend, Michael (Conor O’Donnell) to Niall, a man who begins as an awkward, patronising presence tiptoeing around the subject of self-harm, only to later reveal a darker side, manipulating Brigid’s relationship with Niall to serve his own agenda. His behaviour throws the strength of the siblings’ bond into sharp focus and we see how deeply they care for each other and how much Brigid needs Niall just as much as he needs her. McAlinden as Niall gives a particularly memorable and moving performance, effectively demonstrating both the mental turmoil and drive for independence the character is battling with.

LITTLE BROTHER undoubtedly explores intense, distressing themes, but at its core it observes an unwavering sibling bond and the shared moments of understanding, joy and resilience that hold them together amidst the complexity of mental health struggles.  

Catch it at Soho Theatre til 22nd November – tickets available here.

Photo by Camilla Greenwell.