⭐⭐⭐ (Three Stars)

Antibiotics are, without a doubt, one of the most important medical advances in history, so a musical about the man who discovered penicillin (the very first antibiotic), alongside the impact of antibiotic resistance in the modern day, is an intriguing premise. Lifeline, a new musical making its London debut at Southwark Playhouse Elephant, following an off-Broadway run and being the first musical to be performed at the United Nations, does an admirable job of highlighting the significance of antibiotics and the very real threat of antibiotic resistance in an accessible way. The show also spotlights and celebrates a rotating ensemble cast comprising real scientists and healthcare professionals.

In the musical, we follow present-day NHS doctor Jess (Maz McGinlay), whose ex-partner Aaron (Nathan Salstone) is admitted to her hospital with an infection resistant to all available antibiotics. Simultaneously, we follow Alexander Fleming (Alan Vicary) in 1950, mourning the loss of his wife and friend while already warning of the potentially devastating consequences of microbes becoming resistant to antibiotics. With both stories unfolding on Abby Clarke’s hospital-inspired set - featuring frosted glass paned windows with pill bottles lining the sills - lighting designer Matthew Craigen’s use of cool blue tones for present-day scenes and warm yellow tones for Fleming’s timeline serves as an effective visual cue, ensuring the two narratives do not become confusing.

Director Alex Howarth makes several strong choices, such as having the ensemble of real-life scientists and healthcare professionals introduce themselves to the audience at the end of the show. Each briefly describes the significance of antibiotics and the rise of antibiotic resistance from their own perspective - some speaking in their first language with English surtitles provided for the audience to read the translation, offering a powerful reminder of the diverse workforce driving healthcare and scientific progress. Rehearsing around their day jobs and changing weekly, the ensemble are impressively slick, and it is particularly impactful to hear them speak so passionately about their involvement with the project and the message they hope audiences take away. However, there are several moments throughout the show where the ensemble simply stand watching the main action, and these instances could benefit from more dynamic staging and clearer direction.

Bookwriter Becky Hope-Palmer’s script is initally heavy on exposition but gradually becomes more naturalistic and allows the characters to be established for the audience. Standout performances from the cast include Kelly Glyptis as Amalia, a scientist with whom Alexander Fleming forms a romantic connection. She demonstrates excellent comedic timing and showcases strong operatic vocals. Nathan Salstone, playing both Aaron and Clowes - two characters who develop infections in the parallel timelines - is compelling in the more dramatic moments of the musical. Meanwhile Maz McGinlay as Jess also handles the heavier material effectively, delivering a particularly moving performance in the musical number “Stay With Me.”

The music by composer-lyricist Robin Hiley initially feels somewhat generic in the first few numbers, but as the show progresses, it increasingly finds its footing and establishes more distinct musical identities for the two timelines. The second act opening number, “Private 6392,” is a particular highlight, drawing on Alexander Fleming’s Scottish roots and incorporating live bagpipes (played by Mike Katz). Leanne Pinder’s choreography in this number also brings welcome energy to the stage. Another standout musical moment, “I’ve Done All That I Can,” comes late in Act Two, as Jess’ friend Julian (Robbie Scott), a government advisor, describes the scale and impact of antibiotic resistance in an engaging and compelling way.

Overall, while not every aspect of the production lands perfectly and the musical feels as though it could benefit from further development (with the second act currently much stronger than the first), Lifeline remains an ambitious new musical with a strong and important message about the responsible use of antibiotics alongside uplifting and celebrating the real people working to improve healthcare and save lives.

Lifeline runs at Southwark Playhouse Elephant until 2nd May 2026.

Tickets Available Here