Flyby | Southwark Playhouse

There’s no easing you into Flyby. This new musical opens with a premise that’s anything but small: a rocket scientist applies for a space mission, only to go rogue, steal a capsule, and quite literally launch himself into the void, it seems, because of girl troubles. It’s bold, slightly bonkers, and sets the tone for a show that isn’t afraid to stretch itself both emotionally and conceptually.

Beneath the high-concept setup, Flyby quickly reveals itself to be less about space and more about the messy, complicated pull of human relationships, even if it occasionally struggles to balance those two worlds.

At the heart of it all is Poppy Gilbert as Emily Baker, who completely steals the show. Her performance is genuinely captivating. There’s a fluidity to everything she does, from the way she delivers lines to the physicality of her movement. It never feels forced or overly “performed”; instead, it’s as if she’s simply existing as Emily in real time. She brings a naturalism that feels rare and incredibly watchable, and there’s a quiet emotional intelligence underpinning everything she does. Even in stillness, she holds your attention. It’s the kind of performance that lingers long after the curtain call.

Stuart Thompson’s Daniel Defoe brings a softer, more understated energy, but it’s no less effective. There’s a vulnerability to his portrayal that slowly creeps up on you, and by the end, I found myself genuinely feeling for him. He resists the temptation to overplay the emotion, which makes his performance all the more believable. There’s something quite tender in the way he navigates Daniel’s journey, and it adds a nice emotional balance to the piece.

Rupert Young as Jonathan Jay is, quite simply, on point. His performance feels precise and controlled in the best way, with every line landing exactly as it should. There’s a confidence and clarity to his acting that makes him a strong presence whenever he’s on stage, and he manages to bring nuance to a character that could easily feel one-note in less capable hands.

Vocally, Gina Beck as Amy Greenwood is a real highlight. Her voice is rich, controlled, and effortlessly powerful and she brings a sense of polish to every musical number she’s part of. Even when the songs themselves don’t quite stick, she elevates them purely through vocal strength. You find yourself wishing the material gave her more opportunities to truly soar, because she’s more than capable of delivering those big, goosebump-inducing moments. Simbi Akande’s Grace Adams is another strong addition to the cast. She brings warmth, groundedness, and a quiet strength to the role, making every moment she has on stage count. That said, it does feel like the show only scratches the surface of what her character could be. There’s a sense of untapped potential there, both in the writing and in how much stage time she’s given, which leaves you wanting more.

Visually, the set design by Libby Todd is simple but effective. It doesn’t overwhelm the space, instead opting for a clean and adaptable design that allows the performances to take centre stage. It works well for the intimate setting, but given the premise, it does feel like a bit of a missed opportunity not to lean further into the idea of the spacecraft. There’s so much imaginative potential there that never quite gets fully realised, which is slightly frustrating when it’s such a key part of the show’s concept.

Musically, Flyby sits in an interesting place. The songs are enjoyable whilst you’re listening to them and they serve the narrative well, but they don’t quite linger in the way you might hope. There’s a lack of standout numbers, nothing that you find yourself humming on the way home, which makes the score feel a little forgettable overall. That said, the cast do everything they can with the material, and vocally, it’s consistently strong across the board.

The show does struggle slightly is in its pacing. Without an interval, the runtime begins to feel a little stretched, and there’s a noticeable dip in momentum as the story progresses. Some scenes linger longer than necessary, and tightening things up, or simply adding a break, could make a big difference in keeping the energy consistent throughout.

Still, there’s a lot to like here. Flyby is a thoughtful, character-driven piece that prioritises emotion over spectacle, and when it works, it really works. It may not fully capitalise on its more imaginative elements, but it offers enough heart and strong performances to make it worth the journey.

Flyby plays at the Southwark Playhouse until 16th May - tickets and more information can be found here.

★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Alex Brenner