Review: LIFELINE, Southwark Playhouse Elephant
Photo credit: Charlie Flint
The best theatre surprises provoke thought and maybe even disturbs. And Southwark Playhouse is a venue – or set of venues – that often presents the best of theatre. It’s a suitable home then, for the stunning production of Lifeline by Charades Theatre Company. Edinburgh-based Charades are a theatre company with a message: they make issue-based theatre with the involvement of those most affected, as is the case with this production, already seen on Broadway and at the United Nations after opening at the Edinburgh Fringe.
Two parallel stories form the narrative before eventually uniting in theme. In the 1950s, Scottish scientist Alexander Fleming is growing concerned that penicillin, discovered by him, may not always be as effective as an antibiotic. In the present day, resident doctor Jess has to face the same issue of antimicrobial resistance when her ex-boyfriend develops sepsis. The stories of these two Scots, scientist and doctor, are skilfully interwoven by writer Becky Hope-Palmer with those of a life lost in WWI and an unseen young girl whose life is saved by antibiotics. Composer and lyricist Robin Hiley contributes a score which unites folk/pop for the present day sections, with more traditional Scottish music and instruments for Fleming’s story, played here by a tight six-piece band under musical director Neil Metcalfe. Between them, they have created a remarkably effective musical works.
Director Alex Howarth builds on this material, with some inventive choreographic input from Leanne Pinder, to create something unforgettable and which will remind older theatregoers of the heyday of theatre in education. Abby Clarke’s set design is largely abstract but includes key playing areas and makes good use of different levels on the stage. The masterstroke of the whole production is to involve a changing ensemble of healthcare workers, twelve of them each week from across the UK and beyond. They act as a chorus but also as observing witnesses throughout, and when we finally meet them as individuals at the end of the performance, the applause is deafening.
The ten-strong professional cast deliver the narrative with skill, humour and in the case of Nathan Salstone, a doubling of parts which adds immeasurably to the impact of both characters. As Jess, Maz McGinlay totally convinces as a present day doctor, and is particularly good in the scenes with her boyfriend’s mother, played by Helen Logan, who is adept at creating a believable character from a few scenes.
In the parallel story, Alan Vicary is superb as the troubled Fleming, with Kelly Glyptis touching in her loyalty and patience. Their scenes together are understated but emotionally rich, and contrast well with the more heightened emotions between Jess and Aaron. It is a strong cast with no weak links, though it is impossible to mention everyone by name.
Lifeline plays at Southwark Playhouse until 2 May and deserves full houses. And see the company podcast about Antimicrobial Resistance too: as they sing in the show, “The drugs are in the water, the drugs are in the ground.” Lifeline is not only a chance to learn about an important issue which affects us all; it is also a prime example of a new British musical. Don’t miss it!
***** Five stars
Reviewed by: Chris Abbott
