REVIEW: NIGHT CITY @ SOUTHWARK PLAYHOUSE
š Night City
š The Little, Southwark Playhouse, 77-85 Newington Causeway, London, SE1 6BD
š Saturday 12th August 2026
āļø 3 Stars
ALL GEAR, NO ENGINE
After missing the official press night on Friday, I headed down to the Southwark Playhouse on Saturday evening to check out NIGHT CITY which has just opened in The Little. I always enjoy a trip to this venue, not only because of its diverse programming, but it's only a 20-minute walk from my front door!
After catching a sneak peek at this show a couple weeks ago when I was privileged to have been invited into the rehearsal room where I got to watch the opening scene and chat with the cast and creatives, I was really looking forward to seeing this piece come to life on the stage.
Talk about walking in to a rather striking stage, with rows of chains hanging from the ceiling, and a black and white moving background, with a visual travelling around the streets of London.
As the lights came down and the play began, we started to see the real potential of Olivia Jamieson's set design, as each row of chains is full of lights which, alongside the rest of Arnim Friess's lighting design, exquisitely creates a dark, sometimes menacing, atmosphere. If you've read any of my previous reviews, you'll know just how much I value the technical aspects of a production, and what the creatives have done here is certainly visually striking. The technical nerd inside me was very happy!
The play itself plunges us straight into the relentless, exhausting world of London's gig economy. We follow three main threads: Jack, a stressed-out ride-share driver chasing five-star ratings; Tamara, an overworked home care worker trying to care for people in a system that only cares about profit; and Riva, a wide-eyed newcomer to the city who finds herself waiting tables while dreaming of becoming a writer. It is a concept that is incredibly relevant right now, tackling the raw reality of trying to survive late nights in the capital when you're treated like a cog in a machine.
Unfortunately, I felt that the biggest flaw in the production was in the script itself. I love the idea of it, and the explorative nature of it, but something just didn't click for me. I couldn't help but shake the feeling that the piece had been written for television rather than the stage. It's hard to put my finger on exactly what it was, but I felt Max Wilkinson's writing would have been better suited to a Channel 4 drama. It felt a bit fragmented, and perhaps there were a few too many characters. Because the play flies by in a rapid 85 minutes, the constant shifting between different perspectives means we never quite get to spend enough quiet time with any of them. For me these things distracted somewhat from the emotional core of the piece. I wanted to feel more for these people, but the script kept pulling me away to the next scene before the stakes could really land.
For me, a strong central story is the most important aspect of any theatre show, and here it just didn't click. It's such a shame because everything else about this production is flawless. Ebenezer Bamgboye's direction is really creative in the way it fills the stage and adds constant intrigue, while Rose Ryan's movement direction helped to create some intimacy amidst the chaos.
Finally, I have to say that the cast were exceptional. Jack Ambrose, Helena Pipe, and Bex Smith are a gloriously strong ensemble. While they each anchor the play with their brilliant main roles, they also have to juggle an absolute whirlwind of minor characters. The way they multi-role seamlessly - switching accents, postures, and energies in the blink of an eye - is an absolute masterclass to watch. They bring an unbelievable amount of energy and heart to the space, holding the audience in the palm of their hands even when the narrative gets a bit messy.
As strong as most of the production values are, they just couldn't take my mind away from the writing. It's worth seeing for the visuals and the fantastic performances, but be warned, the writing struggles to be anything more than wafer thin.
NIGHT CITY continues performances at Southwark Playhouse until Saturday 3rd October. CLICK HERE to check availability and to book tickets.
Neill Kovacic-Clarke
All views are my own and I pride myself on being honest, fair, and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one reviewer. Ā
My ticket for this performance of Night City was gifted by GingerBread Agency, who invited me to watch the show in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given.Ā
CAST:
Jack Ambrose as Jack; Helena Pipe as Tamara; Bex Smith as Tia
RUNNING TIME (approx):
1 hour 25 minutes, with no interval
CONTENT WARNINGS:
Strong language; Depictions of violence; References to death, sex, drugs, abortion, and miscarriage
AGE RECOMMENDATION:
14+
To keep up to date with all the latest theatre news and more, follow Pink Prince Theatre on social media.
Find us on Instagram, Facebook, and TikTok.
Comments