Review of ‘Night City’: “Urban drama is still not the talk of the town, but it has a neon-bright future”

This isn’t the perfect piece. In fact, it requires some restructuring, and the storyline should be tightened. But it has a strong pulse. One that resonates deeply with the viewer and exposes the writer’s sharp eye for human relationships and social commentary. In the end, it’s no more than an ordinary tale about ordinary people living ordinary lives — with a little melodrama involved. But it’s solid. And more importantly, meaningful. It might not be the ultimate play about London, but it’s definitely more than just another play set there.

Max Wilkinson’s script delivers depth and poignancy through an insightful look into a modern-day crisis. From corporate greed to tense family relationships, the text covers a wide scope of universal themes seamlessly interwoven into the narrative. And for the most part, the plot moves with fast, engaging pacing while delving into the characters’ personal baggage.

All the main roles are endearing and somewhat relatable. From the struggling wannabe author working as a barista to the aimless car driver who’s given up on his future; from the good-hearted nurse who’s finally found purpose after countless career failures to the bitter old lady desperate to break from her solitude. Every character is compelling and connects rapidly with the viewer, forming a bond that fully solidifies.

Despite his considerable experience, the piece still exhibits the errors of a promising yet first-time playwright. Those mistakes materialise primarily in the conclusion. It feels rushed, and it takes a few debatable turns that seem implausible and overly convenient. And more importantly, they are dramaturgically ineffective.

There’s still praise to give: both to its eye-striking staging and extremely competent performances. Olivia Jamieson’s design is remarkably imaginative and dynamic. Floor-to-ceiling chains fill an intimate black-box space. The only enhancements are hidden white neon tubes and film noir-like background video projections — instinctively building an atmosphere while providing a subtextual reading.

A cast of three brings the recount to life with astounding prowess, showcasing great range and versatility while teeming with rapport, magnetism, and layering. Among them, Jack Ambrose earns the highest mention for his mercurial multi-role portrayal, which he delivers effortlessly and with great command.

Some work must be done, but its message still permeates, and it does so in such a refreshing manner that some of its issues could understandably be overlooked. Even if the point it tries to make has already been made innumerable times, the show still has a soul of its own. And that’s enough to make it worthy.

Night City plays at London’s Southwark Playhouse Borough until 3 October. Tickets are available on the following link.

By Guillermo Nazara