★★★★★
The play opens ominously. Miles Davis (Benjamin Akintuyosi) is seemingly resurrected atop a piano.
The story immediately shifts to another scene, where we meet Jay (Jay Phelps), an aspiring trumpeter struggling to create music that will save his record deal. Technically, he is capable, but his compositions lack depth and identity. Writer and director Oliver Kaderbhai presents jazz as art borne from lived experience, passion, hardship, and personal struggle. Jay’s frustration and inability to find the right notes highlight his lack of knowledge and emotional connection with the music.
In order to understand how Miles Davis created such a revolutionary jazz album (arguably one of the greatest ever made), we must first understand the artist himself. Through a series of flashbacks and flashfoward transitions, the audience gains insight into Miles’ turbulent life.
We witness his struggles with drug addiction and the impact it had on both him and those around him. We are taken back to his childhood and his experience with learning boxing, where elements of rhythm, control and confrontation influenced his musical style.
One of the most significant aspects of the production is its portrayal of the racial challenges Miles faced in 1950s America. His experiences as a Black man in a segregated and discriminatory society are shown as central to the development of his artistry. The play makes it clear that jazz cannot be separated from the historical and racial context in which it evolved. These scenes help the audience understand how deeply his personal experiences shaped his sound.
The parallels between the two characters begin to emerge. Both are 32 years old at crucial moments in their careers, both are expectant fathers, and both are Black American musicians navigating personal and social pressures. These similarities strengthen the connection between them and make Jay’s search for understanding more personal.
Only after Jay understands the complexity of Miles’ life is he able to move forward creatively. In the final moments of the play, he blends traditional jazz elements with modern DJ beats to produce something that feels authentic yet new. Rather than copying Miles, he builds on his influence to create his own sound.
The ending remains deliberately ambiguous. It is never fully clarified whether Miles is a literal presence, a hallucination, or a projection of Jay’s imagination. This ambiguity only strengthens the play, suggesting that Miles lives in the music. Regardless of whether he is really in the room, his influence on Jay is undeniable.
MILES. will run at the Southwark Playhouse Borough until 7 March 2026.
Words by Deborah Adelodun
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