Flyology at Union Theatre Review

Written by Harriet for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review. All views are our own

Within 2026 it has become increasingly and quite scarily common to find companionship and seek knowledge through robots and generative AI. Supposedly AI is still seen as a secondary source to traditional human-led journalists. However from queries on which music artist they would recommend for you to jam out to, to a list of the most popular inventions recorded across human history, to the most prolific writers across the modernist literature movement, more often than not you will find the answers prioritise famous or historical male figures. But though unfortunate, this is not surprising, as it isn’t the first time we have seen women’s voices censored, especially those who happen to also be outspoken. Historically, Anna Akhmatova salvaged her poem ‘Requiem’ (1935), which was burnt to escape prosecution from the Soviet Government, by reciting it by heart amongst those closest to her.

Flyology on the other hand takes the format of a tech conference, led by entrepreneur Callum, who sees the three historical women that have come back with vengeance after they were launched into his system as “a bug”. This raises questions around the role of AI and its potential yet deeply threatening impact on female historical figure erasure. Through its 4-person ensemble, the show, which just wrapped its first full run at Southwark’s Union Theatre, encourages innovative discourse on AI. These vital discussions around AI’s impact on both the patriarchy and feminism make Flyology one of the most exciting and prevalent new didactic musicals to put on your bucket list.

For the past year co-writers Tamiko Dooley and Cathy Farmer have had a venomously tight grip on the pen, all in order to bring back to life three of the most audacious women within history. The line-up includes Emmeline Pankhurst, founder of the suffragette movement, music composer Ethyl Smythe, who sidekicked Emily during the women's suffrage movement, and mathematician, Ada Lovelace who created the world's first computer programmer.

Dooley and Farmer are a pair of brilliant lyricists, their songs have just the right amount of punch and emotion that audiences hope for. Flyology is driven by a musical score, which includes an incredibly vital level of vulnerability. This vulnerability is needed around the discussions about what truly makes women, women, which is their humanity. Through its characterisation, Flyology offers it all. The individuals are inspiring, yet all incredibly flawed, while also remaining incredibly fundamental archetypes which improve the audience’s understanding of the deeply layered concept that is feminism. Though it is within its early stages the characters are extremely three dimensional. Even within Callum’s character, played by the hilarious Charlie Renwick, who though is a perfect microcosm for AI Engines and their impending threat on the editing out of important female historical influences, also shows audiences that really his emotionless comes from a place of deep insecurity and fear. Renwick delivered a performance which was incredibly satirical yet necessary, to help audiences understand why women who bite back against misogyny are not a threat, rather just humanists. 

Meg Abbott’s brilliant and magnetic portrayal of Ada Lovelace, who within the show is described as ‘the weak link’, means though it is incredibly moving, her character doesn’t feel as if it’s merely a narrative device snuck in to drive the conflict. Instead she’s deeply lovable and vulnerable and foils the crude, progressive and bold Ethel Smythe, portrayed by Ashleigh Cassidy. The issues raised within the musical were approached well, and perfectly encapsulated the debate on whether wanting to love a man or being incredibly heartbroken over one makes you male centred, as you watch the characters unpack discussions around relationships. As a result of these contrasting archetypes Flyology felt like an insanely witty take on the Bechdel Test. 

While the lesbian subplot shows that Flyology truly had something to offer for everyone, including a chemistry that every audience member needed between Ashleigh Cassidy and Aishling Jones, who portrayed the real and public affair between the classical music composer Ethel Smyth, and sharp-tongued activist Emmeline Pankhurst. Both are progressive representations of feminism with completely opposing personalities, making an irresistible enemies or more specifically workplace rivals to lovers. 

Overall, the best way to describe attending the lively and joyous musical that was Flyology, is that it’s kind of like imaging what it would be like to have your choice of dinner guests, no matter whether dead or alive. Only exception is it’s a dinner party hosted by a character who also just so happens to be deeply corrupted by insecurity and misogyny, due to his emotionally unavailable father that could’ve possibly just hugged him a little more. It is exciting to see how the writers hope to develop these characters, who already possess such a sense of relatability and sensitivity yet accompany qualities which still inspiringly infuse them with female rage. 

Next week the production will be flapping its wings over to LIPA. According to Tamiko Dooley, “University of Lincoln just performed it at Lincoln Arts Centre and after we research and develop the show some more, we’d love to take a rebooted version to the Edinburgh Fringe Festival 2027!”

★ ★ ★ ★ ★