Review: FLYOLOGY (Union Theatre)

Review by Ruth Sealey

⭐️⭐️

New music, original writing, and strong female representation are all things I look for in theatre, which made the new musical Flyology at the Union Theatre an instantly appealing prospect. Combining modern AI-focused computing themes with some of history’s most inspirational women, the production certainly promised an ambitious evening, but would it glitch under pressure or execute without error?

Flyology centres on the design and launch of an AI-powered computer system, created and led by Callum, intended to bring calm amidst chaos by eliminating anything that threatens to disrupt it. During the live tech launch, in which the audience becomes part of the experience, the system malfunctions, pulling Ada Lovelace, Emmeline Pankhurst, and Ethel Smyth out of their respective timelines and reassembling them within the simulation. As the AI attempts to correct the error and regain control, the woman’s refusal to comply exposes the dangers of a system determined to silence, suppress, and ultimately erase those who challenge it.

The premise behind Flyology is genuinely intriguing, cleverly combining two subjects that initially seem worlds apart, yet feel increasingly relevant in today’s society. The musical has clearly undergone development, with workshops and performances at venues including The Other Palace, The Space, and Camden People’s Theatre. However, despite the strength of its concept, I ultimately left feeling frustrated that the production missed the opportunity to fully explore the stories and significance of these remarkable historical women.

The music and lyrics have been written by the very talented Tamiko Dooley, with lyrics also by Cathy Farmer, and it is the songs that truly elevate the production. In particular, the second act stands out, with numbers such as the duet between Ethel Smyth and Emmeline Pankhurst hinting at a depth and emotional richness that the piece is capable of achieving. Dooley also accompanies the show on piano, and the score goes a long way in adding texture and nuance that, sadly, the book often lacks.

Unfortunately, the book feels clunky and reliant on clichés, with Callum’s motivation to erase these women from history never clearly established. Emotional references remain broad and underdeveloped, while a poorly judged joke about periods lands awkwardly with the audience. The writing also struggles with tone, shifting abruptly between comedy and seriousness, which leaves the piece uncertain of its own intent. This lack of clarity continues to the end, where the AI voice-over, which I had been unsure whether to read as menacing or comic throughout, ultimately reinforces a rather patronising tone and provides an underwhelming conclusion.

Craig McKenzie’s direction sometimes lacks focus, with characters repeatedly running off stage despite being trapped within the system, leaving it unclear where they are supposedly going. Similarly, moments such as Callum creepily stepping his fingers up Ada’s leg in a sexualised manner feel completely at odds with the character established up to that point, adding further inconsistency to the production’s tone and direction. There are moments of genuine tenderness, particularly as Emmeline and Ethel begin to realise their feelings for one another, but even these scenes feel awkwardly handled and reflective of the production’s broader lack of subtlety when exploring lesbian relationships of the period.

The show opens with Charlie Renwick, as Callum, mingling with the audience as he prepares to deliver his pitch. However, he slips into a persona that leans heavily on tech-nerd stereotypes, without adding real depth, and his audience interactions occasionally veer into uncomfortable territory. Given the complexity of misogyny as a theme, this portrayal risks oversimplifying it through broad humour and stereotypes, making Callum feel more like a spoiled child than a credible businessman. In turn, this approach also diminishes the three central women, undercutting the weight of their historical significance within the narrative.

There are moments that feel jumbled, with roving spotlights leaving cast members in darkness and intermittent issues with sound and feedback that continue throughout the performance. The opening number layers spoken dialogue over the music just as the characters arrive on stage, creating a cluttered mix of words and sound that clashes rather than blends, unfortunately setting the tone for much of what follows. 

The women’s storylines rely heavily on the audience already having knowledge of the historical figures involved, with only brief references made to their backstories. Ada Lovelace is, in this context, by far the most engaging and fully realised arc, and Meg Abbott delivers a strong performance, with the most substantial stage time and a solid set of songs. She effectively conveys Lovelace’s frustration as she realises that Charles Babbage (yes, you are expected to know who he is) will take the credit for her work in coding. 

Ashleigh Cassidy as Ethel Smyth and Aishling Jones as Emmeline Pankhurst perform the songs and lyrics well, working hard with the material they are given. Cassidy is afforded a little more narrative depth and delivers Ethel’s frustration and determination with real passion, although some of the dialogue feels jarringly modern for the time period. Jones performs her musical numbers beautifully, again highlighting the strength and potential of the score. However, neither performer is given enough opportunity to fully develop their character, leaving both roles feeling underwritten and frustratingly shallow, considering the significance of the women they portray.

I always want to champion new writing, and Dooley clearly has the ability to take an idea and turn it into songs that really carry a show. However, despite a talented cast and an ambitious concept, Flyology doesn’t quite bring everything together on this occasion. As the women declare, “We are the glitch you cannot fix,” and in many ways, that feels like an unintended reflection of the production itself. A full system reboot may be exactly what is needed for this musical to realise its full potential.

Flyology plays at the Union Theatre until 8^th May. Tickets from https://uniontheatre.biz/show/flyology/ 

Photos by Tom Chaplin