Safe Space at Minerva Theatre, Chichester Review
Written by Amelia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Issues of identity and privilege are taking on a new meaning as we continue to navigate the way the world works. We live in an uncertain time where activism is ever present and people are constantly fighting for their rights, and so a new play discussing the fundamentals of all these problems should be just what we need right now. Safe Space is the debut play of Jamie Bogyo, who some may know from musicals such as Moulin Rouge, The Devil Wears Prada and Aspects of Love. He also stars in the production as Connor and, along with the rest of the company, helps to ask ‘How, and if - can we escape the past?’ This mainly refers to the renaming of a campus college at Yale University, which was named after a notorious defender of slavery, and how the core group of the play breaks through campus politics. The piece takes place at the end of Obama’s presidency, with Bogyo stating the play is about ‘how we love people with whom we disagree’.
As a debut play, we can assume there may be aspects still in development, as with any new writing, but I’d argue that there’s little to develop or change with this piece. The pushing of boundaries and being unafraid to promote strong responses from complex themes shows that the production is bold and compelling, never wavering on whether something is too extreme to include. Bogyo draws on his own university experience which brings authenticity to the story and keeps it grounded. There are so many questions it evokes, such as ‘is it sometimes better to sit on the sidelines?’, ‘what battles should we choose to fight?’, ‘why do people still get or don’t get things because of the colour of their skin?’. There’s no easy way of posing these ideas, but the piece doesn’t make you feel uncomfortable at all, in fact the comedy from Bogyo’s writing is exceptional. The humour weaves through the story seamlessly, ensuring that we never actually take it all too seriously, which could happen especially with a show including these themes.
Ernest Kingsley Jr, who plays Isaiah, is an incredibly compelling and empathetic protagonist. His quiet gentleness contrasts beautifully with his brash roommate, and his journey throughout the play keeps the audience fully invested. Kingsley Jr captures the nuance of someone who doesn’t fit neatly into one camp — showing that it’s possible to hold conflicting beliefs and still act with integrity. As Isaiah’s morals are tested, his attempts to do what’s right feel deeply human. His longing to belong without fully committing to a cause is a rare and fascinating quality, portrayed with subtlety and precision.
As Connor, Jamie Bogyo brings welcome comic relief, delivering his one-liners with sharp precision - particularly the one about being “1% on the autistic spectrum” and that still counting for something. While Connor’s views reflect the privileged background he comes from, Bogyo plays him with such warmth and charm that he never feels like a villain, but rather someone in need of guidance. His performance is full of emotional honesty and heart, and his character arc demonstrates how people can shift their beliefs, even when their reasons for doing so aren’t entirely pure. The subplot involving the two roommates in an a cappella group works surprisingly well within the story, offering a lighter thread that balances some of the play’s heavier themes. It adds texture and gives the audience something fresh to focus on amid the tension. I also love ‘Pitch Perfect’ so I was completely on board.
The cast is completed by Céline Buckens as Annabelle, Bola Akeju as Stacy, and Ivan Oyik as Omar; all of whom work together with impressive cohesion, never missing a beat. The fractures within their friendships are explored through both sharp dialogue and nuanced physicality. Annabelle, a white liberal, begins to suspect that her friend Stacy, newly appointed head of the university’s Women’s Leadership Association, has benefited from institutional favouritism. The resulting tension is deftly played, allowing the audience to witness Annabelle’s growing resentment and the uncomfortable implication that Stacy’s success isn’t deserved. It’s an uneasy but recognisable truth for many viewers, forcing reflection on how bias and perception shape our judgments of others. The play doesn’t flinch from these difficult conversations, particularly when Connor repeatedly misnames the Black characters, exposing the casual racism that still lingers beneath liberal intentions.
The creative team includes director Roy Alexander Weise, set designer Khadija Raza, lighting designer Laura Howard, sound/composition by Giles Thomas, movement director Mateus Daniel, amongst others. The team have worked wonders with this production, bringing together each design element in perfect harmony. The set design is striking, making full use of the stage and surrounding space. Lighting and costume complement this seamlessly, enhancing the atmosphere and supporting the storytelling without ever overpowering it. The production as a whole is remarkable, framing so many complex issues in 2 and a half hours, and never making it feel drawn out or incomplete. The world truly needs something like this right now.
Safe Space premiered at the Chichester Festival Theatre (Minerva Theatre), and runs from 11 October to 8 November 2025.
★★★★★
