Reflecting on the making of Miles Davis’ pivotal 1959 album, Kind of Blue, MILES. explores the jazz musician’s influences and addictions. Although still finding its rhythm, MILES. is a striking play which affirms the complex and brilliant legacy of a much-renowned artist.
To begin, we’re a little disorientated: timelines are murky and scenes a little too open-ended. A confident familiarity with Miles Davis’ life would undeniably be helpful. Soon, however, MILES. finds its feet.
On the back wall, archival material of Davis and his peers is projected: photos, videos, album covers, concert posters, signatures. This layered light brings both an emotional and spatial depth. Characters fold themselves into the narrative through a mesmerising use of clothing, both on bodies and hangers.
As Miles, Benjamin Akintuyosi astounds. His performance refuses any caricatures of Davis, instead inviting an intimacy and authenticity which brings life to the stage. Likewise, Jay Phelps’ trumpet playing is truly transcendent; the ease within which he is both actor and musician is highly admirable. With such brilliance from both Akintuyosi and Phelps comes the sense that there’s more here; a one-hour run time likely isn’t quite enough to tell Davis’ story. The play takes us elsewhere – and it would be an honour to let it take us further.
MILES., Summerhall, until 25 Aug (not 12), 6pm