If you combined a biopic with a public service announcement and a Scottish jam session, you’d have Lifeline, the musical that opened Wednesday night at the Pershing Square Signature Theater. Lifeline tells the story of Alexander Fleming, the Scottish microbiologist who stumbled upon Penicillin and introduced the world to the lifesaving power of antibiotics. From the outset, Fleming recognized that if used incorrectly his discovery could lead to the formation of “superbugs,”: bacteria that becomes resistant to the drugs. In tandem with Fleming’s history is the fictional tale of a rising musician, Aaron, and his childhood sweetheart now his attending physician, Jess. While out on his first tour, Aaron had developed serious digestive issues and began taking antibiotics to relieve his symptoms. Eventually seeking proper medical attention at Jess’s hospital, he underwent successful surgery, but developed a post-operative infection that won’t abate.
With a book by Becky Hope-Palmer and music and lyrics by Robin Hiley and his songwriting partner James Ross, Lifeline was brought to New York by Hiley’s Charades Theatre Company, a charity that promotes community and social issues through their work. The production started life at the Edinburgh Fringe as “The Man Behind the Mould,” and continued to evolve over six years as it toured London and D.C. among other stops. The current rendition is described as “reinvented” and quotes from critics who reviewed the earlier two-time sell-out do not rightfully represent this run.
Drawing inspiration from practicing doctors and scientists who have engaged with the piece, the playwright does a splendid job of underlining the parallels between Fleming’s findings and current events. Though the storyline is tough to witness and the outcome telegraphed from the outset, the first act of Hope-Palmer’s time-hopping script moves along briskly, buoyed by the musical talents of and chemistry between Scott McClure’s Aaron and Kirsty MacLaren’s Jess and the sincerity of Matthew Malthouse as the grounding Alexander Fleming. (McClure doubles as Fleming’s war buddy, Clowes.) Alone, it would have been enough to amplify the threat that antimicrobial resistance (AMR) poses for the entire world. Act II goes deeper into Fleming’s past and the aftermath of Aaron’s failed treatment. But except for “I’ve Done All that I Can”, a song about the proliferation of antibiotics in our food and water delivered by Julian (Robbie Scott) a politician friend, there is little that adds to our understanding of the problem. And at a running time of 2:35, the endeavor becomes relentless — more likely to overwhelm than impress — and ends in a way that may be pure but is not satisfying. The most thrilling twist, revealed in the last moments, concerns some of the cast members rather than the characters they portray.
In its current form, the production also seems better suited to a much larger space. The leads are backed by five ensemble players and a rotating chorus of twelve. A spirited band performs upstage throughout. Alice McNicholas’s set is anchored by an illuminated turntable. It so dominates the stage that Alex Howarth’s direction is primarily comprised of walking in circles and standing back to back while Wayne Parsons’ dance numbers featuring alter-egos and younger selves are forced to be nearly vertical. The scenic arrangement also requires the cast to repeatedly hoist Aaron’s hospital bed on and off the platform. Wonderfully creative visuals by Will Monks blend film, hand drawing, and helpful facts. They are projected onto hospital privacy curtains to fill out the look, though some of Monks’ lighting is nearly blinding mid-house.
In light of a movement to have drug companies sell medications directly to patients, Lifeline provides palatable critical counsel about a rarely discussed healthcare crisis. As a celebration of medical professionals, it’s superior to the beating of pots and pans. As an introduction to Fleming and his achievements, it’s a shame that the whimsy of the original piece has been shed in favor of glum earnestness.
It would be easier to recommend Lifeline as a daring artistic experiment if regular tickets were not $72 and premium seating $91, though that is understandable given the number of professionals involved who deserve to be making more than bus fare. The show continues through September 28 at the Alice Griffin Jewel Box at 480 West 42nd Street in New York. Tickets are available at https://www.lifelinemusical.com/. The current run is ironically sponsored in part by biopharma company GSK and pharmaceutical giant Merck. Despite requests to turn off your phone in the lobby, don’t. The only way to access the Playbill is with a QR code.
