Lifeline

Southwark Playhouse Elephant

Playing until 2nd May

Book tickets

Photo credit: Charlie Flint

{PR Gifted ticket}

Two parallel stories, linked by a common theme, antibiotics. In the 1940s, Alexander Fleming (Alan Vicary) was celebrated for his discovery of penicillin and its antimicrobial effects, revolutionising the way in which infections are treated in modern medicine. Fast forward to today, the use of antibiotics has been abused in multiple sectors, leading to growing problem on antimicrobial resistance across the world, dampening the effectiveness of the treatment, and its ability to be a lifeline for so many people.

The modern and historical aspects are intertwined, with the intention to build on each other. On one hand, Jess (Maz McGinlay) is desperate to save her deteriorating boyfriend, Aaron (Nathan Salstone), who has been infected by a multi-drug-resistant bacteria; on the other, Fleming battles his inner demons and his inability to save his loved ones and prevent his greatest discovery from becoming ineffective. The combination of the two perspectives builds a picture for the audience on the direct impact of antimicrobial resistance (AMR) and the urgency for better management on the use of antibiotics. From an educational perspective, Lifeline has done a decent job at explaining what AMR is and its impact to the audience.

The use of the language and simplicity to understand should be applauded as it is not an easy task to communicate complex scientific principles to non-experts and the public. To this end, the producers should be congratulated for working with the right contributors to ensure the information is fit-for-purpose. Similarly, the involvement of real-world practising healthcare professionals, scientists and allied professions in the chorus is an interesting concept, and using their own perspectives to close the show demonstrates how everything is connected. Though acknowledging the producers' intention to showcase the diversity amongst the non-theatre professionals involved in this show, the ending and wrap-up was questionably too extensive.

However, the human connection aspect of the plot is constantly at odds with the education element and never quite managed to strike that balance between the two. Though the breakthrough discovery by Fleming should definitely be recognised, the extensiveness of it is perhaps not warranted. Driven by the loss of his wife and his dear friend, Clowes (also played by Salstone), explains Fleming’s motivation and to me that is sufficient. This raises the question as to whether his blossoming romance with Amalia (Kelly Glyptis), Fleming's scientific collaborator, is indeed needed to drive the plot forward, especially when there is a love story in train between Jess and Aaron. I do want to emphasise that this is not a reflection on Glyptis’s performance as that was among the strongest in this show, particularly with the material that she was given.  

Creatively, having Salstone in both the role of Aaron and Clowes is a great decision, providing that bridge and linkage between the two timelines. Salstone and McGinlay both showcase the vulnerability of their characters throughout, instilling emotions in each of their musical numbers.

Instead of integrating scientific facts about antibiotics and AMR to drive the story forward, Becky Hope-Palmer’s book as it stands seem to serve the opposite, using the story as a mean to communicate scientific facts. Not to say that this is not a worthwhile objective, but perhaps not the approach that would best connect with the general audience. Instead, I think a bigger focus on the modern aspect and the impact of AMR through greater emotional connections might better serve the story’s intended purpose.  

Creatives

Book: Becky Hope-Palmer

Music and Lyrics: Robin Hiley

Director: Alex Howarth

Musical Director: Neil Metcalfe

Lead Producer: Jessica Conway

Producer and Music contributions: James Ross

Set Design: Abby Clarke

Costume Design: Alice McNicholas

Sound Design and Operation: Paul Smith

Lighting Design and Operation: Matthew Craigen

Choreographer: Leanne Pinder