Monkeyface ⭐️⭐️⭐️⭐️

Trapped within the four walls of a university bedroom, ‘Monkeyface’ navigates the euphoric highs and crushing lows of Freshers Week, toxic friendships, club culture, and the aching need for connection. What begins as something relatable (flatmates, cliques, and the messy thrill of queer nightlife) slowly unravels into a raw portrait of a young Black Gay student fighting to stay afloat inside a world not built to hold him.

Some shows entertain you for an hour. Others quietly settle in your mind long after you've left the theatre. Monkeyface manages to do both. What begins as a familiar story about university life, finding your feet and surviving Freshers' Week, gradually transforms into something far more vulnerable and emotionally charged. It isn't afraid to tackle difficult conversations around identity, race, sexuality and mental health, but it does so with honesty rather than sensationalism. While a few areas could be refined further, the emotional core of this production is undeniably strong.

Mojola Akinyemi's direction is thoughtful and, for the most part, very effective. There is a naturalism to the staging that suits the piece perfectly, allowing Raphael Phillips' performance to remain the focus throughout. The pacing is well judged, giving the quieter moments enough room to breathe without slowing the story's momentum. There are, however, a few moments where the staging feels slightly inconsistent. The tape doorway is clearly established as the entrance to the flat, yet on certain occasions, the character does not actually use it to enter. It's a small detail, but once you've noticed it, it's surprisingly difficult to ignore. A little extra tightening here would make an already strong production feel even more polished.

Lighting designer Isha Bah creates a cohesive visual world that beautifully supports the emotional shifts. The nightclub scenes are a particular highlight, with bold blue and pink washes immediately transporting us into that environment. The sharp snap changes are visually satisfying and help keep the storytelling dynamic. There are one or two moments where the lighting could perhaps push the atmosphere even further, but overall it is a confident design that always complements the action rather than distracting from it.

Joe Harrington's sound design is equally well considered. Before the show even begins, the pre-show music instantly establishes the world and atmosphere, always a nice touch when it feels carefully chosen rather than simply filling the silence. Throughout the performance, the balance is excellent, ensuring every word lands clearly. My only small note comes during the nightclub sequences, where the music fades out while the character continues dancing and telling us he is in a nightclub. Having the music quietly underscoring the entire scene would have maintained that immersive feeling of being in a nightclub. Other than that, it is a subtle and effective design that quietly does exactly what it needs to.

Valentina Turtur's set proves that simple ideas can often be the most effective. Two strips of masking tape form the doorway to the student flat, whilst a folding screen covered with clothes and posters, a table cluttered with personal belongings, and a bed complete with pink bedding create a room that feels lived-in and believable. It's recognisably a student's bedroom without feeling overloaded with detail. The taped doorway, in particular, is wonderfully inventive. Who knew a roll of masking tape could become one of the hardest-working members of the cast?

Raphael Phillips' script takes a little while to settle fully. The opening is deliberately measured, introducing both the character and his world before gradually peeling back the layers. Once it gets going, though, it becomes incredibly engaging. The writing is refreshingly honest, never shying away from uncomfortable truths or difficult conversations. It explores loneliness, friendship, racism, sexuality and belonging with real emotional maturity, whilst allowing moments of humour to break through the heavier material naturally.

What makes the writing particularly effective is that it never asks for sympathy. Instead, it simply asks the audience to listen. That vulnerability makes it remarkably easy to invest in the character and genuinely care about what happens to him. If there is one area that could elevate the script even further, it would be giving us a little more insight into his childhood. We hear about struggles and his mother, but spending more time understanding where those experiences began would deepen the emotional payoff even further. It is a testament to the writing that you leave wanting to know more about this character rather than feeling you've already heard enough.

Raphael Phillips also delivers a wonderfully assured performance. Carrying a one-person play is no easy feat, yet he does so with confidence, warmth and remarkable honesty. He moves seamlessly between humour and heartbreak, allowing the audience to laugh with him one moment before quietly breaking their hearts the next. His pacing feels effortless, and he keeps the energy flowing even through the more reflective sections. Perhaps the only thing missing is another layer of characterisation beyond the vulnerability. The emotional honesty is unquestionable, but there are moments when seeing more of who this character is beyond his struggles would make him feel even richer and more three-dimensional. That said, this is still a compelling performance that beautifully anchors the entire production.

Monkeyface is an honest, intimate, and emotionally engaging piece of theatre that shines a light on experiences rarely explored with such openness. Whilst the production occasionally shows small cracks in its staging and could delve deeper into its protagonist's backstory, these are minor points within an otherwise powerful evening of theatre. Supported by thoughtful direction, effective technical design and a compelling central performance, Monkeyface is the kind of show that quietly creeps up on you. By the end, you'll likely leave with plenty to think about, and perhaps a newfound appreciation for just how much emotion can fit inside one student bedroom.

Monkeyface plays at the Riverside Studios until 21 July. If you're looking for theatre that is heartfelt, thought-provoking, and unafraid to ask difficult questions, this is well worth a visit. You can see more information at https://riversidestudios.co.uk/whats-on/bO-monkeyface