LIFELINE
Southwark Playhouse Elephant
★★½
“has real ambition and compelling music but the theatrical execution isn’t quite there yet
‘Lifeline’ – the first musical ever staged at the UN – premieres in London with an urgent mission: to spotlight the growing threat of antibiotic resistance and critical need for responsible stewardship. However, the delivery feels a little blunt, leaning on shock tactics and healthcare hero tropes, and at times muddling its own call to action. Still, it offers flashes of real enjoyment.
Resident doctor Jess is thrown off course when her ex, musician Aaron, is rushed in for emergency surgery. As his condition worsens, Sir Alexander Fleming battles his demons as penicillin reshapes the world. Their stories collide under the spectre of antibiotic resistance – and whether Aaron, and countless others, can still be saved.
Becky Hope Palmer’s book would benefit from sharpening its key messages and character arcs. Using dual love stories to humanise the science is strong, but the balance is off: Jess and Aaron’s fraught history resolves too early, while Fleming’s thinner arc stretches on without much development. The dual timelines don’t always flow either, leaving their climactic convergence feeling underpowered. Stronger character shaping would also help moments like Layla’s big scene land with more impact. It also feels unfocused as a piece of social action, raising many issues but ultimately offering healthcare workers as the solution and sidelining the simple actions individuals can take. This perhaps offers more anxiety than hope, and undermines the piece’s intent.
Robin Hiley’s beautifully intricate, Scottish folk inflected music is the show’s great strength – lively rhythms and warm harmonies all delivered with flair by Neil Metcalfe and the six piece band. The military ceilidh is a genuine high point. However, Hiley’s lyrics don’t always land, feeling a little repetitive and clunky at times, with lots of counterpoint that loses detail.
Alex Howarth’s direction shows ambition but doesn’t always bring the characters or relationships into focus. The split screen climax is striking, though Aaron’s arc feels sidelined by then. A few choices jar, such as Fleming’s Act 1 press conference, overwhelmed by sound and light, and the frequent clambering over the set, which feels dynamic but sometimes unnecessary.
Leanne Pinder’s choreography is pitched to suit mixed abilities, but the reliance on sharp, spiky arm movements doesn’t always suit the moment. The larger ceilidh sequences are a real lift, energising the whole stage.
Abby Clarke’s set is striking but busy, filled with grids that don’t seem to carry deeper meaning. Paul Smith’s sound design hasn’t quite found its balance, with a few overpowering moments and some lost lyrics. Alice McNicholas’ costumes are attractive and accurate, though I’m not sure all of Amalia’s changes are necessary within her jumping timelines. Matthew Craigen’s lighting, however, is beautifully judged and consistently lifts key moments.
Nathan Salstone’s Aaron/Clowes is the standout of the night, with nuanced acting, gorgeous vocals, and impressive guitar work. Kelly Glyptis’ Amalia also shines, with a fluid operatic voice, razor sharp comic timing, and a welcome dose of fiery directness. Maz McGinlay’s Jess delivers solid acting and strong vocals throughout, with a knockout top note. Alan Vicary’s Fleming offers assured singing, though the characterisation feels underpowered.
The healthcare professional ensemble brings plenty of spirit and strong vocals, but their acting and movement feels amateur and can be a little distracting. The intention to honour the profession is clear but this could be achieved without compromising performance quality.
‘Lifeline’ has real ambition and compelling music but the theatrical execution isn’t quite there yet. With sharper focus and delivery, it could become the impactful piece of social change theatre it’s reaching for.
LIFELINE
Southwark Playhouse Elephant
Reviewed on 2nd April 2026
by Hannah Bothelton
Photography by Charlie Flint
