Back in November 2024, I reviewed [for Musicals Magazine] the concept album of this new musical, Lifeline, which now receives its London premiere at the Southwark Playhouse Elephant. My verdict was that it was “a curious but intriguing and ambitious recording”.
Lifeline is a musical bringing two stories together. Scottish scientist Alexander Fleming, the discoverer of penicillin, is twinned with present-day pediatrician Jess. For them both, infections have or will cause grief. Fleming laments the loss of his childhood friend and fellow soldier, Clowes, as well as his wife. Jess’s childhood sweetheart, Aaron, develops complications after a routine operation.
Alan Vicary takes on the role of Fleming, a hero in the scientific world beset with guilt that he couldn’t do enough, and a reserve that causes a barrier between him and his Greek assistant, Amalia (Kelly Glyptis). Fellow scientist Merlin Pryce (Kieran Brown) offers the light joshing and friendly support to get him out of his rut.
Meanwhile, in the hospital, Aaron (Nathan Salstone), a musician whose workload has led to exhaustion and health neglect, shows how modern medicine struggles to work with antibiotics, where successive generations have developed a resistance. He and the idealistic Jess (Maz McGinlay) have a long-time friend, Julian (Robbie Scott), who is now a special advisor to the government.
It’s a musical with a message, enhanced by a revolving chorus of 59 healthcare and scientific professionals, who both participate in the show and then are introduced at the end – but be warned, unless you are sitting head-on, you will not see the translation on screen of speakers of other languages due to the set design.
As I said in my previous album review, there are some extremely strong songs here, written by Robin Hiley. “Waltz With Me” is a soaring operatic piece as Amalia tries to connect with Fleming on an evening’s walk home. “I’ve Done All That I Can” offers a comment on how precarious scientific and medical research can be in the constant struggle to save lives. On the night, there was even a bagpiper.
The fact that there are two timelines, as well as very different types of music, sometimes causes confusion. The musical is delivering this life-saving message – and some of Alex Howarth‘s staging choices allow parallels to be drawn, including having the same actor playing Aaron and Clowes. There is also some use of platforms by the band for the chorus to comment on the action.
Lifeline has the best of intentions in trying to raise awareness of how the discovery of penicillin has led to exploitation by big companies and a monetary disconnect in how people are treated. However, with locations ranging from a Great War field hospital to a modern ICU, from a battlefield to a cluttered office, from the sunset at Hyde Park to an Asian conference hall, there is a lot for an audience to take in.
Becky Hope-Palmer’s book tries to bring all these threads and places together, but it only just about comes off. I applaud the intention of trying to show the effect of antibiotics through various stories, including Aaron’s mother (Helen Logan) and a young patient who sees Jess as “a superhero”, but sometimes the pace drags a little, and the Fleming aspect feels a little tacked on.
I’m giving this 3 stars. It is heartfelt and sentimental, but needs a bit of focus.
Lifeline continues at Southwark Playhouse Elephant until 2 May 2026 – details here.
Photo credit: Charlie Flint