Review! Lifeline the Musical at Southwark Playhouse Elephant, April 2026

Have you ever needed antibiotics? Chances are you have. Whether for a minor infection or something far more serious, these medicines can feel nothing short of miraculous. Last night, I gained a deeper appreciation for them through Lifeline, a new musical now playing at Southwark Playhouse Elephant.

The show weaves together two parallel stories: the life of Alexander Fleming, and a group of friends in present-day Scotland. When musician Aaron falls ill abroad and returns home, the question looms—can modern medicine save him? Meanwhile, Fleming, newly celebrated for his discovery of penicillin, finds himself at the height of his fame. Yet, as his work begins to change the world, he must grapple with a more personal dilemma: can he allow himself happiness with fellow scientist Amalia Voureka?

Folk-inspired musicals seem to be having a moment, and this was my first encounter with the style. I wasn’t quite prepared for the show to open with an acoustic ballad, or for the swell of concert-like crowd sounds, and I briefly questioned what I’d signed up for. However, with each number, I found myself increasingly won over by the genre. Under the musical direction of Neil Metcalf, who also performed on piano, the band delivered each piece with sensitivity, beautifully complementing Robin Hiley’s lyrics to create a series of genuinely moving performances. (More on my standout number shortly.)

One of the things I particularly appreciate about this venue is how effectively it uses its intimate space. The action spills in from all directions, encouraging the audience to stay alert to every corner, especially as past and present frequently overlap within the staging. This fluidity is echoed in Abby Clarke’s set design: with a handful of well-chosen props and cabinets, the stage seamlessly shifts from a Scottish hospital to a 1950s laboratory and office. Matthew Craigen’s lighting design further supports these transitions, guiding us smoothly between settings—though one brief, dazzling moment left me momentarily blinded, perhaps fittingly evoking the urgency of a hospital emergency. 

As the narrative wove between past and present, many cast members took on multiple roles—something I’ve always admired, given the skill required to switch so seamlessly between scenes. There were several standout performances. Alan Vicary and Kelly Glyptis brought warmth and nuance to scientist Alexander Fleming and his partner Amalia Voureka; I particularly enjoyed their dynamic, as Fleming tentatively navigated both his emotions and his work, while Amalia challenged him, gradually breaking down his guarded exterior.

Merlin Pryce, played by Kieran Brown, portraying a friend to both, was a real highlight, injecting much-needed wit into an otherwise emotional piece, alongside delivering strong, confident vocals. Nathan Salstone’s Aaron was another compelling presence—without revealing too much, I found myself rooting for him throughout, drawn in by his determination. Although Helen Logan had less stage time as Layla, Aaron’s mother, her performance left a lasting impression, especially towards the end of the second act.

However, the standout performance for me was Maz McGinlay as Jess Irvine. Introduced as a bright, upbeat paediatric doctor, her journey takes a profound and affecting turn, and what unfolds is nothing short of remarkable. McGinlay captures the realities faced by the NHS with striking authenticity, and her portrayal of grief felt deeply real. This is epitomised in the standout number, Stay With Me—a powerful and emotional moment that, I’ll admit, left me wiping away tears. Her performance was truly exceptional.

What sets this musical apart—and reinforces its message—is the chorus itself. Made up of twelve individuals who sing and speak throughout, they are not trained actors but real people: scientists, healthcare professionals, and researchers dedicated to protecting the effectiveness of antibiotics. This gives added weight to moments like Climb On, making the lyrics all the more poignant.

Lifeline is more than just a musical; it’s an important and timely lesson. It highlights the dangers of misusing medication and sheds light on the exhausting, often frustrating reality faced by those in the profession. Crucially, it underscores the growing crisis of antibiotic resistance—a stark reminder that these vital treatments are becoming less effective, with very real and sometimes devastating consequences...

⭐⭐⭐⭐⭐

Lifeline can be seen until 2nd May 2026 at Southwark Playhouse Elephant.

Book here.