Review: Lifeline (Southwark Playhouse Elephant)

Review by Dan Ghigeanu

⭐️⭐️⭐

In an industry that feels increasingly overworked and underfunded, Lifeline strikes a timely chord with its central themes, looking at the struggles faced by healthcare workers today that mirror those of decades ago. There’s something inherently compelling about portraying medical professionals not just as clinicians but as people, flawed, passionate and, at times, quietly heroic. This production sets out to honour that spirit, asking whether those working tirelessly to save lives might, in their own way, be considered superheroes.

Lifeline intertwines two narratives separated by seventy years - on one side stands Alexander Fleming, the pioneering scientist whose discovery of penicillin transformed modern medicine, and on the other, Jess, a present-day junior doctor grappling with both professional pressure and unresolved personal history. Their stories unfold in tandem, exploring the intersections of love, responsibility and legacy. It’s a structure that promises emotional resonance, drawing clear lines between past and present while highlighting how far medicine has come and, unfortunately, how much remains unchanged.

This musical has already had two outings, with runs at the Edinburgh Festival Fringe and an off-Broadway debut, as well as the notable distinction of being the first musical performed on the floor of the United Nations General Assembly. Presented by Charades Theatre Company, it arrives with a sense of importance, positioning itself as both entertainment and tribute, a celebration of the human stories behind medical breakthroughs, and a reflection on the cost of progress.

However, for all its admirable intentions, the show struggles under the weight of its own ambition. With a book by Becky Hope-Palmer and music and lyrics by Robin Hiley, Lifeline attempts to balance historical drama, contemporary storytelling and musical theatre, but the result is uneven. The narrative itself is undeniably fascinating, yet the pacing often feels inconsistent. Certain scenes linger longer than necessary, without offering sufficient emotional or narrative payoff, while others feel rushed. A tighter structure would significantly enhance the show’s impact, allowing its strongest moments to land better. The score is similarly mixed. There are glimpses of real musical strength, memorable melodies and well-crafted numbers, but these are scattered among songs that feel less essential. At times, the music halts the narrative rather than propelling it forward, creating a sense of stagnation. In a piece so dependent on emotional momentum, this proves a substantial setback.

Direction by Alex Howarth provides a steady guiding hand, ensuring that the dual timelines remain coherent and visually distinct. The overarching journey from beginning to end is clear, and there’s a thoughtful approach to staging that supports the material. Yet even the most assured direction cannot fully compensate for a book that, unfortunately, lacks urgency. The production moves with purpose, but not always with pace. The design elements further support the production’s strengths, with set and costume design by Abby Clarke and Alice McNicholas effective in their simplicity, allowing the story to take centre stage while still providing a clear sense of time and place. The transitions between past and present are handled with clarity, and the overall aesthetic feels cohesive. 

Where Lifeline truly finds its strength is in its performances. Kelly Glyptis is a standout as Amalia Voureka, bringing both sharp comedic timing and emotional depth to the role. She commands attention whenever she appears, balancing fierceness with vulnerability in a way that makes her instantly engaging. It’s a performance that adds texture to the historical narrative. Alan Vicary offers a solid portrayal of Alexander Fleming, capturing the gravitas of the figure, though his performance occasionally feels limited in emotional range. Nathan Salstone, in a dual role as Aaron Elliot and Clowes, delivers a commendable turn, and his opening number, an acoustic rendition of ‘Rose of No Man’s Land', is among the production’s most affecting moments. It sets a high bar early on, though the show struggles to maintain that same level of intensity throughout.

At the centre of it all is Maz McGinlay as Jess, whose performance forms the emotional core of the piece. She brings a remarkable sense of authenticity to the role, capturing the character’s vulnerability, resilience and compassion. McGinlay’s portrayal is both grounded and deeply moving, and her presence anchors the production even when the narrative falters. Her standout number, ‘Stay With Me', is a genuine highlight, delivered with power and emotion. It captures the emotional stakes of the story in a way few other moments achieve.

Ultimately, Lifeline is a musical with a great deal of potential. Its premise is compelling, its themes resonate, and its intentions are undeniably admirable. There are moments of genuine beauty and emotional impact, bolstered by strong performances and a clear sense of purpose. Yet it remains a work that feels slightly unfinished, its pacing uneven, its narrative in need of refinement, and its score occasionally unfocused. With further development and a more tightly structured book, Lifeline could evolve into something truly special. As it stands, it is an engaging and often moving production that offers glimpses of greatness, even if it doesn’t consistently achieve it. 

Lifeline plays at Southwark Playhouse Elephant until 2nd May. Tickets from https://southwarkplayhouse.co.uk/productions/lifeline/

Photos by Charlie Flint