SUGA is sweet, but too much can leave you needing a filling! An intense exploration of the challenges a young Londoner faces, including hurdles such as finances, housing, friendship and intimacy. Rating
Excellent!
The Brixton Housemates Festival 2026 champions evolving work and promising writers, including Max Hyner, author of SUGA. The play, which was longlisted for the Theatre503 International Playwriting Award, was developed with the support of the Soho Theatre Masterclass Trust and the Camden People’s Theatre. This layered story of youth, societal pressures and the realities of sugar daddies exposes the consequences of interactions.
We are greeted by Hazboy’s drum and bass rhythms, and as we take our seats, we are watched by Harry (Max Hyner) lying on his single bed, repositioning occasionally. The black box thrust, with a white bedroom set (Maya Heritage), benefits from contrasting and dynamic lighting by Tom Hicks, with an effective use of colour and screens facilitating intriguing virtual communication.
When the play begins, we meet Sira (Fanta Barrie), a pragmatic, charming, and worldly-wise friend to Harry. Barrie is both alluring and captivating, poised and fluid in delivery. Her excitement is palpable: her sugar daddy has deposited £300 and paid 3 months’ rent ‘for nothing’. Harry, struggling with card debts, rising interest charges, rent payments and more, is beguiled. Despite Sira’s admonishments to recognise the transactional nature of such relationships, Harry signs up to Candyman.com. The undeniable chemistry of Barrie and Hyner is a pleasure, and the pair have a natural linguistic dexterity.
Hyner’s writing demands audience attention with his use of spoken word, Cockney rhyming slang, and pace of delivery. The balance of wit, wisdom, innocence and cringeworthy emoji-ridden interactions is excellent. It is both challenging and captivating to engage with. The humour extends as Sira exasperatedly points out that it’s no longer the 60s and no-one talks in rhyming slang anymore! We all laugh in agreement and relief.
Jon Campling as Daddy is a formidable presence in this piece. His seemingly hesitant portrayal is woven with nuances of vulnerability, intellect, intimacy, condescension and power. Joana Nastari’s intimacy coordination is eloquently complemented by Sean Landis’ direction and dramaturgy. Their collaboration maximises use of space, furnishings, emotions and interpersonal connections.
Harry’s apartment number is 666: ironically, dancing with the devil demands visceral recompense. The lure of luxury brands, financial security, and being cared for is tempting. But, ultimately, ‘nothing is for nothing’: both financial and emotional debts demand reparations.
Hyner’s intelligent prose starkly illuminates generational contrasts in film references, vocabulary, expectations and compatibility. As we witness this exploration of power and control, we are confronted by contrasts in philosophy, aspirations, finances, music, the arts and beyond. Occasionally pacing falters, becoming laboured and a little repetitive, but recovery from this is always swift.
The poetic and prosaic writing are both complemented wonderfully by the excellent cast and creatives, resulting in a captivating and innovative piece. Time spent immersed in Hyner’s work is a memorable sweet treat.
Written by: Max Hyner
Direction and Dramaturgy by: Sean Landis
Produced by: Brooklyn Boukather
Intimacy Coordination by: Joana Nastari
Stage Managed by: Isha Bah
Set and Costume Design by: Maya Heritage
Sound Design by: Hazboy
Lighting Design by: Tom Hicks
Stagehand: Lewis Mackinnon
SUGA plays at Brixton House until Saturday 5 September as part of the Brixton Housemates Festival.
