Theatre Review MILES Southwark Playhouse (Borough) London

Electric, full of energy, and rich with history. Benjamin Akintuyosi was outstanding, intimate, alive and completely present. The storytelling hits hard, but tenderly and the space feels just right, small, close, intimate. MILES is a show that moves, breathes and that stays with you. Jay Phelps also brought warmth, depth and precision and together they filled the intimate space with energy that felt huge and unforgettable.  

From the moment the lights hit, MILES draws you in with an atmosphere that is immediate, energetic and alive. The intimacy of Southwark Playhouse (Borough) is used to full effect, you can feel the actors’ presence in the space, every gesture and glance carrying weight, making the audience part of the story in a way that feels rare and precious. I was seated right at the front face on towards all the action and felt completely immersed in this courageous two-hander. 

Akintuyosi is simply outstanding. From the first scene, he inhabits his character fully, feeling intimate, vulnerable, and alive. There is a quiet bravery to his performance, he is raw and messy without ever losing control, revealing a character who is trying, failing, and trying again. Every pause, every shift in expression, every breath feels deliberate, lived-in, and painfully truthful. You don’t just watch him, you feel him, as though the story is breathing through him directly into the audience. MILES, written and directed by Oliver Kaderbhai and with the concept by Jay Phelps who also forms part of the two-hander alongside Akintuyosi, is the story of Miles Davis and how his life impacted the world of jazz, music, and touches on his struggles along the way. It is a journey of relationships and how much music influences the world around us. That journey is relived through the medium of live music, visual video, and art. However it is pure acting talent that emotions are truly felt and what stole the show.

Phelps is a perfect counterbalance to Akintuyosi, bringing warmth, precision, and depth to his role. Their chemistry is tangible, and it carries the show. Scenes between them are full of life and all its intricacies; tension, humour, tenderness, and unspoken connection all coexisting in the same moment. The way they play off each other makes the narrative richer, more immediate, more human. In a space this intimate, that energy isn’t just seen, it is felt, lingering long after the lights dim. The storytelling is pacy, yet layered. The script is full of history, both in the characters’ pasts and in the way the scenes echo with emotional truth. Moments of humour are perfectly balanced with moments of vulnerability and reflection, making the narrative both entertaining and emotionally resonant. The show doesn’t tell you what to feel it simply trusts you to inhabit the characters’ worlds, to notice the small details, and to hold the silences alongside the dialogue.

Scene by scene, the production grips. Early moments set the rhythm: quick, precise, full of energy, establishing a tone that feels alive and unpredictable. Midway, the quieter moments land harder, pauses, glances, subtle shifts in movement carry more weight. I could feel Akintuyosi’s and Phelp’s sweat on my own skin - such was their great efforts in working the physicalities of the role and boy was it a physical show at times! Towards the climax, the tension and tenderness build together, weaving a narrative that is both full of history and striking. By the end, the pacing, the performances, and the energy converge in a way that is emotionally powerful, leaving you both wrung out and uplifted.

The set, by Ellie Wintour was minimal yet effective, allowing the actors to inhabit the space fully, making every movement meaningful. Lighting (Alex Lewer) and sound (Will Tonna) are used subtly but impactfully, heightening the intimacy and energy without ever drawing attention away from the performances. Everything works together to create a world that feels lived-in, rich, and emotionally compelling. By the end, you leave feeling you have witnessed something special. The show sits on your shoulder a little, like a friend who understands the messy, tender, human parts of life. You are softened, moved, and strangely lifted, the mark of theatre at its best. There is something for me very special about seeing performances in intimate spaces - and the Southwark Playhouse Borough and its adaptable three-wing seating was at capacity at 180. With seating very squished together, it did feel a little cramped at times personal space wise but a small price to pay within the context of the intimate show. 

Definitely one to watch! 

MILES is playing at Southwark Playhouse Borough until 7th March. 

Full details at  https://southwarkplayhouse.co.uk/productions/miles/

Review - 9th February 2026

Reviewer - Mary Fogg