MILES ⭐⭐⭐⭐
- Jack Stevens
- 58 minutes ago
- 3 min read
Set inside what feels like a smoky New York studio, MILES. brilliantly explores what it takes to create something truly great—and what it costs you along the way. Contemporary jazz musician Jay wrestles with his creative demons and identity while the ghost of Miles Davis looms large over every chord and conversation. It’s part musical meditation, part time-hopping drama, and definitely big on atmosphere.
Oliver Kaderbhai’s direction is confident and assured, steering the audience through a nonlinear mash-up of memory, imagination, and reality with clear intent. When it works, it works very well. A handful of transitions between scenes could benefit from greater clarity, as their purpose isn’t always immediately legible. While this ambiguity sometimes feels deliberate, a little more structural guidance would help the piece land with greater consistency.
Ellie Wintour’s set is elegant in its restraint, anchored by a lone grand piano that becomes both a visual and emotional focal point. The uncluttered space allows the performers and music to take centre stage, reinforcing the show’s stripped-back aesthetic. However, the wooden slatted structure occasionally works against the production, creating gaps that interrupt projections and fragment the imagery. With minor refinements, this already strong design could support the storytelling even more effectively.
Wintour’s costume design is a quiet success. Modern, unfussy, and naturalistic, the costumes avoid theatrics in favour of authenticity. The contrast between tailored pieces and more relaxed silhouettes subtly reinforces generational divides and shifting identities, adding texture without drawing attention away from the performances.
The video designed by Colin J Smith is ambitious and often inventive, extending the world beyond the studio walls and adding visual depth to the narrative. A playful moment involving a t-shirt stands out as a confident, creative choice that lands well. That said, the relationship between video and physical space isn’t always seamless, and smoother integration would help these moments feel more fully embedded rather than occasionally superimposed.
Lighting by Alex Lewer is clean, controlled, and thoughtfully executed. A predominantly cool blue palette clearly distinguishes the present-day studio from moments rooted in memory, guiding the audience through the shifting timelines with ease. While largely effective, the lighting could occasionally push further—introducing sharper contrasts or warmer tones to heighten key emotional beats.
Will Tonna’s sound design largely supports the production, with several well-judged moments that enhance the musical landscape. A particularly effective push-up effect on Miles’ voice adds presence and authority, reinforcing his almost mythic status. There are, however, points where dialogue and music dip below ideal levels, momentarily pulling focus. Given how integral sound is to this piece, greater consistency here would significantly strengthen its impact.
Oliver Kaderbhai’s writing is sharp and economical, with witty and insightful lines that often land with confidence. The script is at its strongest when it leans into reflection rather than recounting, interrogating artistry and influence rather than simply documenting them. In places where the show edges closer to conventional biographical storytelling, it briefly loses some of its individuality. Even so, the book remains engaging, intelligent, and largely effective.
Jay Phelps is undeniably compelling on stage. His embodiment of Miles Davis feels assured and unforced, capturing both the charisma and intensity of the jazz icon without slipping into imitation. His trumpet playing and commanding presence form the backbone of the production.
Benjamin Akintuyosi offers a considered and nuanced performance as Jay, bringing warmth and credibility to the role. While his characterisation is strong, some key emotional turning points feel underplayed—particularly when a pivotal deal begins to unravel—slightly softening moments that could otherwise hit harder.
Overall, MILES. is a confident, atmospheric, and often absorbing piece of theatre. While there are areas that would benefit from refinement, its ambition, performances, and distinctive tone make it a rewarding watch. For audiences drawn to jazz, creative legacy, and stories that value mood and inquiry over neat resolution, this is a solid and worthwhile evening at Southwark Playhouse Borough.
🎟️ Book tickets while it’s running until 7 March!
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