Lifeline the Musical at Southwark Playhouse (Elephant) Review
Photo by Charlie Flint
Written by Phil for Theatre and Tonic
Disclaimer: Tickets were gifted in return for an honest review. All views are our own
Antibiotics are a lifeline for millions of people across the globe. Protecting the efficacy of these remarkable drugs is essential to safeguarding public health for generations to come—and at its core, that is precisely the story that Lifeline the Musical seeks to tell.
Having previously played in Edinburgh, Off-Broadway, and even at the United Nations, Lifeline now arrives at the Southwark Playhouse Elephant. With a book by Becky Hope-Palmer and music and lyrics by Robin Hiley, the musical intertwines two very different stories set decades apart.
The contemporary narrative follows global music superstar Aaron and his ex-partner, the formidable and compassionate Dr Jess Irvine. When Aaron falls ill during a world tour, he is forced to confront difficult truths back home alongside the woman he still loves. Running parallel is the story of Alexander Fleming, whose growing affection for his lab assistant Amalia Voureka unfolds after the death of his wife and long after his groundbreaking discovery of penicillin. While these two narratives provide the framework, the true heartbeat of Lifeline lies in its tribute to the extraordinary work of the National Health Service and the vital contributions of those working tirelessly behind the scenes and just how important antibiotics are to the world. As the timelines unfold, their highs and lows are cleverly juxtaposed, allowing the stories to echo and illuminate one another.
Hiley’s score is undoubtedly one of the musical’s greatest strengths. It soars with confidence and propels the narrative forward with emotional clarity. Hope-Palmer’s book is both charming and deeply moving, though at times its pacing feels slightly uneven. Certain scenes linger longer than necessary while others pass too quickly. The emotional climax of Act Two, in particular, could benefit from a more gradual build. While the suddenness of events may reflect the realities of medicine and life within the NHS, theatrically it feels as though the moment could have reached even greater emotional heights. Of the two timelines, there is perhaps slightly too much emphasis placed on the developing romance between Fleming and Voureka, and not quite enough on the emotional farewell between Jess and Aaron.
What truly elevates the material, however, is the exceptional cast who bring these stories vividly to life. Maz McGinlay delivers a profoundly moving performance as Dr Jess Irvine. Across the show’s two-and-a-half hours, she reveals layer upon layer of emotional complexity—strength, resilience, pain, guilt, heartbreak and torment all conveyed with remarkable authenticity. It is a performance of immense depth and sincerity.
Opposite her, Nathan Salstone gives a deeply affecting portrayal of Aaron, balancing vulnerability with determination as he fights to remain present for Jess despite his circumstances. Both performers possess stunning voices, their contemporary pop-infused vocals allowing Hiley’s score to truly soar.
The historical storyline introduces Alan Vicary as Alexander Fleming. Vicary portrays him as a man weighed down by grief and isolation, still haunted by the loss of his friend Clowes in World War I and by the death of his wife. Over time, we see this guarded exterior soften as Fleming grapples with both personal loss and the fear that the world may squander the life-saving potential of penicillin. Vicary charts this emotional journey beautifully. His partnership with Kelly Glyptis is equally compelling. As Amalia Voureka, Glyptis is a pillar of quiet strength—steadfastly supportive while repeatedly held at arm’s length. It is a powerful and heartfelt performance. Their musical style, more classical and “legit” in tone, contrasts beautifully with the contemporary sound of Jess and Aaron’s storyline, subtly reinforcing the shift in time.
The wider company is equally impressive. Supporting roles are delivered with striking authenticity, and the ensemble bring tremendous energy and conviction throughout. A particularly touching element of the production is the inclusion of real voices from those working within the NHS, each contributing to the ongoing fight to preserve the effectiveness of antibiotics and protect public health. Hearing brief glimpses of their real-world experiences is a genuinely moving addition.
At its heart, Lifeline has all the ingredients of a powerful and enduring musical, underpinned by a message of urgent global importance. While the book could benefit from some refinement to ensure the narrative focus lands exactly where it needs to, the show is already rich with emotion, sincerity, and purpose. With a little further development, Lifeline undoubtedly has a bright future ahead.
I strongly encourage audiences to see it. Not only is it a compelling piece of theatre, but its message could not be more important.
Lifeline is playing at Southwark Playhouse Elephant until 2nd May.
★★★★
