Montel Douglas brings their award-winning debut play One Way Out to Brixton House this summer. The powerful coming-of-age drama explores friendship, identity, and the impact of the Windrush scandal on young British Caribbeans.
Set in present-day South London, the play follows four friends navigating a world of disappearing youth clubs, gentrification, and systemic injustice. With sharp writing and dynamic performances, One Way Out is a timely and urgent piece of theatre.
One Way Out runs from 18 June to 5 July 2025 at Brixton House, with performances at 2.45pm and 7.45pm. Tickets are available at brixtonhouse.co.uk.
You’re bringing One Way Out to Brixton House – what can you tell us about the show?
One Way Out is a raw and honest story about four young men growing up in South London bound by brotherhood, challenged by systems. It explores friendship, identity, and the impact of the Windrush scandal through a deeply personal lens. At its heart, it’s about home: what it means to belong somewhere, and what happens when that sense of belonging is threatened.
One Way Out explores themes of identity, friendship, and the Windrush scandal. What drew you to this story?
This story is personal. It was inspired by my cousin Dominique, who came to the UK from Jamaica as a child and ended up undocumented through no fault of her own. Her experience opened my eyes to how the Windrush scandal wasn’t just a headline it was happening in living rooms like ours. I wanted to honour her journey and, in doing so, reflect the realities so many face while still capturing the humour, chaos, and love that exists in our communities.
The play is set in a rapidly changing South London. How does the setting influence the characters and their journey?
South London is more than just a backdrop it’s a character in itself. The estate, the youth club, the corner shop… these are the places that shape the boys’ lives and offer both sanctuary and pressure. But gentrification and systemic shifts are closing those spaces down. As the area changes, so do their options, their dreams, and the way they navigate the world. The setting constantly pushes them to ask: Where do I belong?
You have both written and directed this piece. What has that been like for you?
Directing a piece, I’ve written is always a delicate balance I’m holding the emotional weight of the story while also stepping back enough to guide others through it. With One Way Out, I’ve been really intentional about creating a rehearsal room rooted in trust, care, and openness. Because the story is personal, I try not to be precious instead, I invite the cast to bring their own truth and instincts into the world. I might have written the map, but they bring the road to life, and that collaboration has been the most rewarding part of this process.
The show has evolved since its original 2023 staging. What’s different this time around?
This version is bigger, bolder, and sharper. We’ve had time to refine the storytelling, dig deeper into character journeys, and elevate the design. The Brixton House stage allows us to visually and sonically push the boundaries of the world. We’ve also added new scenes, updated the script based on audience feedback, and worked with a new creative team to level up the entire production.
What would you say to anyone thinking of booking to see One Way Out?
Come. Bring your people. This isn’t just a play it’s a conversation, a mirror, and a celebration. Whether you’ve lived these experiences or are learning about them for the first time, One Way Out has something to say to you. Expect laughter, truth, pain, and joy. It’s a show with heart and I promise you’ll leave thinking, feeling, and hopefully, talking.
