Night City is a new play by Max Wilkinson which charts the lives of Jack, Tamara and Tia, three individuals who live in London against the backdrop of the gig economy. Jack is an overworked taxi driver with heart issues, Tamara a carer who yearns to spend more time with her clients, and Tia a waitress who has moved to London to pursue her dream of becoming a writer.
Wilkinson’s book cleverly weaves the three different storylines, occasionally intersecting with each other before continuing on their own paths and then colliding again. The different individual narratives flick from one to the other swiftly and, whilst this does mean that sometimes it becomes hard to fully immerse yourself in one character, it does portray the relentless nature of our three protagonists’ lives. The pace also ensures that the 85 minutes fly by. There is sharp commentary on the gig economy and the human impact of prioritising profits above all else. We not only see the direct impact this has on Jack, Tamara and Tia, but also how it affects those around them. The three stories may be separate, but the play makes it clear that the choices made by these systems have consequences far beyond the individual.
Ebenezer Bamgboye’s direction is brilliantly considered for this piece and he ensures that each switch of narrative is clear, with the audience never left in any doubt whose story we are in at any given moment. The performers’ physicality is also wonderful, with Bex Smith playing Tia and transforming in a blink of an eye from a young waitress to Tamara’s elderly client. In fact, all of the cast multi-role throughout the play, playing not only one of our three protagonists but also peripheral characters in each other’s lives. This creates an impressive fluidity to the production, with the performers constantly shifting between different characters and relationships.
Helena Pipe plays Tamara and is brilliantly warm in the role, making her genuine love for her clients apparent. Jack Ambrose plays Jack, bringing a huge amount of energy into the role as he battles with the consequences of trying to do the right thing. There are times, however, where some of the physical nature of the show jars. Often, during a conversation between two of the characters, the third performer is present, interacting with one of the protagonists in some way, whether stroking, poking or undressing them. It is clear that they are trying to visualise the mood of the scene, but often this becomes a distraction from the writing rather than enhancing it.
The set design by Olivia Jamieson sees a series of chains hung from the ceiling and affixed to the floor, creating cuboids of playing space as well as multiple corridors in various directions. The chains are intertwined with lights and the set works seamlessly with Arnim Friess’ lighting design to enhance the mood of the piece. There is something appropriately industrial and restrictive about the design, whilst the multiple playing spaces allow the three narratives to exist alongside one another and reinforce the sense that these characters are all part of the same wider world.
Ultimately, Night City is an ambitious new play that succeeds in bringing three very different lives together whilst keeping its central commentary on the gig economy firmly in focus. Wilkinson’s writing and Bamgboye’s direction create a production that moves at an impressive pace, whilst the cast’s ability to shift between characters keeps the storytelling constantly engaging. Although some of the physical direction occasionally distracts from the writing, there is plenty here to admire, and Night City offers a thought-provoking look at what happens when the systems we rely on begin to put profit ahead of people.
Night City is running until 3rd October. You can book tickets and find out more here.
If you like this review you might also like my review of Jane Eyre, The Mousetrap and Operation Mincemeat.