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

LIFELINE

★★★★★

“a standout piece of theatre comedy that nails the laughs while landing something far deeper”

Riki Lindhome – perhaps channelling her inner therapist from hit series ‘Wednesday’ – turns the lens on herself in ‘Dead Inside’, a raw, razor sharp rollercoaster about female infertility – one of society’s great taboos. Having broken out in comedy duo ‘Garfunkel and Oates’, Lindhome’s stunning first solo show commands real laughs, real tears and a really important conversation.

Motherhood sure is tough, but becoming a mother can be even tougher. Lindhome’s brutally honest account of her own journey captures the highs, lows and losses with her signature sweet yet savage style.

Lindhome nails a tightly crafted mix of humour, whimsy and emotional depth. What begins as a frothy Disney esque confection quickly reveals hidden layers. It’s impressively tight, with some hilarious callbacks and absolutely no loose ends. And Lindhome’s not afraid to laugh at herself either, with some exceedingly self-deprecating moments. But the show’s real power lies in Lindhome’s honesty. She keeps things grounded, nudging us to confront uncomfortable truths with clarity and care – whether she’s dismantling male centred media or calling out toxic behaviours in beloved movie classics. It’s all handled with such grace and wit, you can’t help but walk out with fresh eyes (or at least wet ones – bring tissues!).

Lindhome’s delivery is utterly hilarious, with impeccable comedy timing, effortless audience work and total command of the room. She’s a master of pacing, bouncing through lighter beats before pulling back for real introspection. In the deepest moments, you can feel the audience holding their breath. It’s true she “breaks the rule” by laughing at her own jokes, but her warmth is undeniable and endearing. In fact, the relentlessly delusional optimism she keeps referencing makes her pain bearable – for her and for us. At the emotional crux, she delivers a devastatingly tender song for her lost daughter and it’s impossible not to be moved.

Of course, it wouldn’t be a Lindhome show without music, and she rewards musical theatre lovers with multiple easter eggs. The songs are sharp, mature and as cutting as ever, filled with self aware wit and sly cultural digs, from doing Baroness Schraeder dirty in ‘The Sound of Music’, to framing motherhood as a woman’s ultimate destiny. Lindhome’s breathy singing style is a brilliant contrast to the barbed lyrics underneath, and she shows real skill across multiple instruments.

Director Brian McElhaney gives the show real polish and momentum, even playfully leaning into the egg themed double entendres. The 80s rock anthem to hysterical women could perhaps use a touch more energy (and maybe an electric guitar?), but overall far surpasses the comedy show format, landing as a full blown production with striking theatrical flair.

The design team really delivers. The video work is spot on, whether it’s perfectly timed smiley faces or an epic ‘Sound of Music’ montage. The lighting and sound design track the show’s shifts beautifully, matching the energy beat for beat. Lindhome’s bold red outfit helps her command the stage, and the tech team proves their worth when she jumps a line and loops back, the video remaining perfectly in sync throughout.

Lindhome’s ‘Dead Inside’ is a standout piece of theatre comedy that nails the laughs while landing something far deeper. Despite the heavy themes, Lindhome’s sensitive writing and grounded presence make you feel completely held. It’s a show not to be missed.

Tag Archives: Hannah Bothelton

LIFELINE

★★½

Southwark Playhouse Elephant

LIFELINE

Southwark Playhouse Elephant

★★½

“has real ambition and compelling music but the theatrical execution isn’t quite there yet