Flyby Review: Interstellar Musical's Epic Voyage of Toxic Romance
The dark musical Flyby, currently captivating audiences at Southwark Playhouse Borough in London, presents a jagged and ambitious exploration of emotional wreckage within a mutually destructive relationship. Created by Theo Jamieson and Adam Lenson, this production combines interstellar projections with a non-sequential narrative structure to tell the story of a young astronaut's disappearance and the toxic romance that led to it.
A Time- and Space-Travelling Drama
The musical begins with reports of astronaut Daniel, portrayed brilliantly by Stuart Thompson, who has gone AWOL in a shuttle with limited fuel. The central mystery revolves around his kamikaze journey's purpose and the emotional forces driving his actions. Through a chopped-up backstory reminiscent of The Last Five Years, the audience glimpses the formative traumas and cruelties that shaped Daniel's relationship with Emily, played with equal excellence by Poppy Gilbert.
Daniel, bullied as a child, appears unconsciously drawn to someone who inflicts similar emotional damage, while Emily lives in a state of guilt and betrayal inherited from her parents. Her philandering film-maker father particularly co-opts his teenage daughter into his web of infidelity and deception, creating a complex psychological landscape.
Visceral Raw Performances and Soaring Music
Directed by Adam Lenson, the scenes between Emily and Daniel are arresting in their visceral rawness. Both Thompson and Gilbert demonstrate tremendous strength in their performances, supported by songs that soar and blast through the audience with emotional intensity. The production achieves a wonderful, epic strangeness through its combination of interstellar projections, the emotional intelligence of Jamieson's book, and the accomplished music that ranges from Sondheim-like complexity to grand symphonic arrangements.
Structural Imperfections and Narrative Challenges
Despite its many strengths, Flyby contains noticeable imperfections that prevent it from achieving true brilliance. The narrative purpose and motivation often feel disjointed, extending beyond the intentional non-sequential structure. Audiences may desire a more complete, tragic shape to the relationship, which currently feels unfinished with too many gaps between crucial moments.
The "stranded in space" metaphor becomes overstretched at times, with Daniel's surname Defoe serving as an unnecessary nod to Robinson Crusoe's author. The storytelling as a whole feels lopsided, beginning as Daniel's drama before shifting focus to become Emily's story. Three narrators—Simbi Akande, Gina Beck, and Rupert Young—provide commentaries that sometimes feature too many digressive cutaway scenes, while smaller details like Emily's appearance in an X-rated film at age thirteen and Daniel's childhood viewing of it remain unacknowledged between the characters.
Glimmers of Brilliance and Future Promise
Yet Flyby contains undeniable glimmers of brilliance, from its sophisticated musical compositions to its nuanced exploration of mental health drama. The production shows promise of evolving into a musical with the impact of Next to Normal or Dear Evan Hansen, potentially requiring some artful reordering of its elements. Currently running at Southwark Playhouse Borough until 16 May, this interstellar musical offers a voyage of epic strangeness that, while imperfect, delivers arresting performances and soaring musical moments that will linger with audiences.
