MILES, written and directed by Oliver Kaderbhai and conceptualised by Jay Phelps (who also stars in the show), is nothing short of a vibrant celebration of music, culture, and jazz.
MILES begins with the nervous musician Jay struggling to make sense of the melodies flowing from his horn (trumpet) in a present-day rehearsal room. Enter Miles Davis, making him doubtful yet fuelling him with ambition.
Together, they dive into the story of Miles: the transformative power of music, the personal struggles of those involved, music’s redemptive qualities, and the fascinating characters Miles Davis met along his journey.
This captivating tale comes alive through video art, live music, stunning visual stagecraft, and, above all, remarkable talent.
Benjamin Akintuyosi’s portrayal of Miles Davis is the most exciting interpretation of a historical figure I’ve seen in recent memory. They hold the audience’s attention effortlessly, captivating with their dynamic use of language and presence. This is easily one of the finest performances I’ve witnessed this year (though it’s only February).
Personally, it is rare to be so thoroughly gripped by a performance.
Jay Phelps’s acting feels less refined compared to Akintuyosi’s, but what they lack in dramatic depth they make up for with immense musical talent.
MILES at times doesn’t fully accommodate the three-wing seating, making much of the show feel like it’s played to a single side of the audience. But despite the small, cramped space, the set design by Ellie Wintour is resourceful and imaginative, props are cleverly repurposed to represent multiple things, and the execution remains seamless and smooth throughout.
Several episodes within the show feel as though they each reach their own climax, which can create moments of fatigue as the story transitions to the next segment.
Interactions with the other characters were often difficult to follow. Many entered and exited the stage so quickly that their presence felt fleeting, leaving little opportunity for the audience to connect with or appreciate their roles in the narrative.
Despite that, while I do not typically include personal recommendations in my reviews, if you are a fortunate reader with connections in the industry and the means to help this show grow, I encourage you to experience it firsthand and form your own judgement.
With further refinement and thoughtful curation, I believe this production has the potential for considerable success. Much like many gems discovered in the challenging spaces of fringe theatre, this production deserves the chance to be polished and allowed to flourish.
It was a genuine privilege to witness a musician of Jay Phelps’s calibre performing at such close range, demonstrating extraordinary musicality and style. It was equally impressive to experience Benjamin Akintuyosi’s work at the outset of what promises to be a remarkable career.
Now and then, you see a show that quietly stays with you.
A piece shaped with care, each detail inviting you in. It feels only right to tell you, dear readers, to make your way, without delay, to the Little Hall at Southwark Playhouse to see MILES.
Listings and ticket information can be found here
