⭐⭐ (Two Stars)

Flyby, a new musical written by Theo Jamieson and directed by Adam Lenson currently making its world premiere at Southwark Playhouse Borough, features toxic relationships, an intergalactic break-up, and a human playing a giant turtle (yes, really). Ambitious and full of intriguing potential, Flyby unfortunately never manages to reach the celestial heights it aspires to.

Opening with an inexplicable jump-scare, the musical follows the dissolution of the relationship between astronaut Daniel Defoe (Stuart Thompson) and Emily Baker (Poppy Gilbert), both bringing their share of childhood trauma, which the show attempts to explore. We move between timelines, charting their failing relationship on Earth alongside scenes of Daniel’s future, after he has gone off-grid in space following their break-up. Clearly taking inspiration from another musical about the breakdown of a relationship, The Last Five Years, Flyby introduces its interstellar element in an attempt to raise the stakes. However, even setting aside questions of logic and believability, the piece ultimately struggles to move its audience.

Both Thompson and Gilbert admirably make the best of the material they have been given, despite their characters being written as largely unlikeable and not a couple the audience is likely to root for. Their strongest moments come towards the end of the show, where solo musical numbers allow them to fully showcase their emotional range. Elsewhere, the performances of these talented actors are hindered in scenes where they are directed to shout for extended periods: an overused choice in this production that quickly loses impact.

Another element of Flyby that does not serve the production entirely effectively is the trio of narrators (Gina Beck, Rupert Young, and Simbi Akande) whose presence in the production is never fully explained. Delivering dense exposition at speed, often over loud music, these moments make it difficult to grasp key plot details. The narrators remain onstage for much of the production - sometimes observing, sometimes participating in scenes as other characters, and sometimes addressing the audience directly - but this device creates more confusion than clarity.

The most bizarre choice, however, arrives late in the show, when a giant turtle - a barely concealed performer lying on their stomach and rolling on wheels - passes between the stage and the front row. Intended as a moment of emotional symbolism, the effect is undermined by the awkward, jolting movement of the prop, prompting uncomfortable muffled laughter from the audience.

While Jamieson’s score contains occasional stirring melodies, much of the music proves somewhat forgettable. One area where the production undeniably succeeds, however, is in its visual design. Performed on a stage in the corner of Southwark Playhouse Borough’s black box theatre, with audience seating wrapping around two sides, Libby Todd’s mid-century modern living room set is both stylish and inventive. Doors open to reveal a bright white spaceship interior utilised for scenes where Daniel is in space, while the set’s panels double as a canvas for Ben Jacobs’ impressive projection and lighting design.

Overall, Flyby is undeniably daring and its ambition is commendable. However, many of its bold choices do not land effectively.

Flyby runs at Southwark Playhouse Borough until 16th May 2026.

Tickets Available Here