Night City – Southwark Playhouse, Borough

Writer: Max Wilkinson 
Director: Ebenezer Bamgboye

Reviewer: Christine Stanton

“Frantic“

3.5 / 5

Logistics surrounding the gig economy have been a longstanding point of contention between people – on one hand, it’s flexible and autonomous, on the other, it lacks job security and workplace benefits. Either way, gig economy workers make up a huge percentage of individuals across the UK, especially in big cities like London.

Based on writer Max Wilkinson’s own experiences, Night City is a glimpse into the lives of various characters on zero hour contracts. Tamara (Helena Pipe) had dreams of becoming a singer, but instead works in the care industry, loving being able to help people, but hating the financial pressure around making ends meet. Jack (Jack Ambrose) is one of GoGo Cars best earners, and from transporting people all over the city, he’s got to know some of the best underground spots. Tia (Bex Smith) dreams of being a writer, waitressing in a café until she gets her big break.

The fast-paced, unpredictable lifestyle of not knowing your next shift is conveyed well, the frantic nature of each of their lifestyles keeping the audience constantly on edge, as we whiz from one character to another. The constantly changing, quickly paced transitions, although successful in showcasing the vast amount of individuals living that life, are slightly too frequent and become a little cumbersome the more characters you get to know. There are appearances from a journalist desperate for a big scoop, a money-hungry AI mogul, a café owner, a hedonistic celebrity looking for a buzz, an unruly teenage son who’s got himself a fine, plus a sprinkling more of others, all multi-roled by Smith, Pipe and Ambrose. Although the small side characters do help to progress the wider storyline, having so many of them, in such a short space of time, initially with nothing too identifiable to distinguish them as being different from the core characters, can at points be a little confusing and convoluted. Some of the plot points could easily be discussed or showcased without another side character in the loop, which would help the flow a little better.

The trio are brilliant at switching characters though, never missing a beat or stumbling over the new accent or mannerism they’ve adopted. Smith’s portrayal of Gigi, the rich pensioner that Tamara cares for, is very humorously done, her snooty remarks and brash brush offs very entertaining. Pipe conveys the emotion in Tamara’s struggles brilliantly, and her melodic vocals at various points through the show are absolutely beautifully performed. Ambrose is likeable as the friendly taxi driver, and comparatively completely unlikeable as the slimy literary agent who tries to tempt Tia with a deal.

The chains hanging from the ceiling (Olivia Jamieson’s set design) successfully depict the feeling of being trapped, caught in an economy that gives you no freedom despite the flexibility it claims. These, combined with Arnim Friess’s flashing lights and projected video design add a claustrophobic intensity to the narrative, that constantly throbs in the background, mirroring the characters feelings as they try their best to get by. An entertaining show, with an accurate insight into gig work, that could just do with a shaper focus to captivate even more than it already does.

Runs until 3rd October 2026