this bra’s a psycho — written and directed by the remarkable Zubayr Charles, is a stage production that hits all the spine-tingling dark notes if you’re a fan of psychological crime thrillers, which admittedly I have been ever since my introduction to CSI as a teen (Las Vegas, Miami, and every delicious variant under the sun).

“this bra’s a psycho – a psychological crime thriller and cat-and-mouse tale tackles the themes of male sexual assault, hook-up culture, and online dating. The narrative follows THE BRA, who, after waking up in an unknown warehouse, must face the brutal aftermath of sexual assault. In his search for love and healing through dating apps, things take a dark turn – ending with him becoming a serial killer and partaking in a chilling killing spree. But someone is watching… and justice is coming.”

The press release, which flawlessly managed to induce that very same macabre curiosity I was drawn to as a teenager, and even still as an (semi, debatable) adult, did not fully prepare me for the truly magnetic and memorable performance on their second night at the Artscape Arena. Zubayr Charles’ text, coupled with the two talented Cape Town-based performers, James Stoffberg and Anzio September, conjured an experience of distilled darkness within sixty minutes, a visceral nod to the taut cat-and-mouse narrative, grounded in the South African scene, while addressing a fragmented mosaic of complex and grippingly relevant themes.

Stoffberg embodies a feverishly nuanced portrayal of the birth of a serial killer, inviting the audience as witness while posing the most unsettling of questions: at what point does victim morph into predator? Are there limits to our collective empathy? Does understanding equal condoning the actions of THE BRA? Before immediate answers can be formed, THE BRA continues to add victims to his growing Grindr graveyard.

Alongside Stoffberg, September inhabits the role of the relentless policeman investigating the murders and THE BRA’S various victims. This dual role transforms him into a haunted hydra of sorts, of both victims and perpetrators – blurring the lines even more than one could imagine. September flawlessly transforms from one victim to the next, honing unique mannerisms and contrasting personas, cultivating an admirable whiplash of fluidity.

It is within this tension, this taut back-and-forth, discomfort in motion, that ‘this bra’s a psycho‘ stands out and elevates the realm of a simple crime drama into something I admittedly still lack the words for. The use of symbolism on stage is executed with ease, yet in retrospect, it appears meticulously considered. Costumes and props are placed within a circle on stage, lending to the cyclical nature within the narrative, building on the notion of a never-ending chase, a pattern devouring itself and birthing yet another iteration. Each murder is heightened through lighting, and depicted through a variety of representative motions. Charles notes, “I find symbolism in theatre to be silly, however, for this show, I realised that the killings would come across as campy if we were to portray it as realism. It has been interesting seeing the audience react to the abstract way the violence and sexual content are portrayed on stage. THE BRA actually never touches his victims.”

Regarding the title and scene transitions, Charles discusses the usage of the word “bra” and the transitional music, “My original title of the play was ‘this boy’s a psycho’ – yet James encouraged me to use the word ‘bra’. Although the term ‘bra’ adds a local context to the play, James mentioned that many countries also use the term ‘bra’ in colloquial settings – of course, this is pronounced differently – so in his essence, THE BRA is actually a universal character. When I created all the transitional sounds, I used pop songs that I like with the word ‘boy’ in the title.”

Alongside his exciting oeuvre of stage productions, Charles’ poetry collection titled the sad boy’s starter pack will be released later this year, and his first novel, Haram, is set to be published early next year – both dealing with the themes of queer identity.