Flyology | Union Theatre

Flyology is a new musical co-created by Tamiko Dooley and Cathy Farmer and directed by Craig McKenzie which soars into the Union Theatre as its first fully produced premiere (following a trail of sold out work in progress runs around London), and makes a glowingly positive impression. Whilst the premise of the show is amusingly bizarre, the musical is one full of heart, wit, emotion and inspiration. 

Flyology tackles two large and frankly contrasting key themes, the past and the future in the 70 minute runtime; yet manages to bring a perfect blend for the present day as the larger implications of both timelines are relevant today. CEO Callum (played by the brilliant Charlie Renwick) has designed the "fix" to the world's problem, replacing emotional women with systems, robots and AI that will serve the larger community; also known as the patriarchy. However, through a glitch in the system, three key figures from history, Ada Lovelace, Ethel Smyth and Emmeline Pankhurst, find themselves trapped in this simulation and thus begin corrupting the system as they try to find their way back to their original timelines. 

The musical's premise is ambitious, with a fantastical element that is scarily close to reality as it leans into both sci-fi, alternate reality and ironically, realism. Whilst there is a clear general understanding of this situation from the audience, one is best not looking too closely at the logic of the plot as it isn't quite as well-established as one may hope. Although perhaps in anticipation of this, a cheeky line later in the play addresses the necessity for the world to rely more on illogical and emotion-driven lives than rigid and logical ones. The musical focuses primarily on the three women as they come to terms with their new fate, and must figure out how and if they want to return to their original timelines, with the occasional hilarious tantrums from Callum. 

Dooley and Farmer have created a world that feels rich with complexities, and yet the plight of the three women is simple, which works beautifully. Ada Lovelace, a clever and loving mathematician who dreams of finishing and publishing her book, brews as the quiet rebellion, igniting a spark. Ethel Smyth, a loud and proud composer whose queer sexuality oozes as an impenetrable confidence, storms as chaotic riot that will overturn the world. Emmeline Pankhurst, the world famous political activist once again becomes the face of the movement as her unwavering passion burns through any box the world may try to put her in. These three women, from different world and different lives, come together to recount how their lives played out after their demise, and how the world needs to be reminded of their legacy and their ideals. 

Flyology, despite the more serious themes, never takes itself too seriously; allowing for a more comedic narrative, whether it is the hilarious banter and sexual tension between Ethel Smyth and Emmeline Pankhurst, or the frequent fits of hysteria from Callum, or the failed hopes of how progressive the present day would be. The musical is a joyful one, yet when necessary, it pulls back and allows for the powerful reminder of the sacrifices and victories of the millions of women behind us. 

Farmer's book, whilst a little repetitive, contains clever dialogues that will leave audiences pondering over hypothetical and flaws in society, delivering strong one-liners. Dooley's penchant for poetry comes through strongly with several portions of spoken word that have been cleverly adjusted to create lyrics or monologues, with an additional touch of tension that really propels the musical. Dooley and Farmer's lyrics are gorgeous and evocative, especially the act two opener, which becomes a feminist anthem. The lyrics across all the songs are strong, but this is especially noticeable during individual songs, allowing for each character to exist more independently. 

Renwick is hilarious as the 26 year old CEO Callum, whose caricature-like performance is an ever reliable source of comedic relief. Renwick's moments of audience interactions pre-show as he seeks out potential investors, as well as addressing the audience directly as he markets his new invention, is hilarious to witness. Renwick leans into the satirical take on the character as he is often reduced to near tears and needs to call his "mummy", or seek advice from his therapist. Renwick plays with physical comedy well, as well as demonstrating his ability to play a more sinister and manipulative character, whilst remaining as foolish as ever. Admirably, Renwick manages to tap into this comedic attitude even when singing an impressive range.

Aishling Jones is charming as Emmeline Pankhurst, with a strong performance as her passion for the suffragette movement is laced with an acknowledgement of her suffering and the shortcomings of its impact today. Jones fits perfectly in the trio of women, capable of holding her own against the teasing of Smyth and the hopeful naivety of Lovelace. Jones' vocals are wonderful and her subtle choices are both endearing and amusing as she's constantly caught off guard by the increasingly perplexing circumstances. Audiences are also given a chance to see the more vulnerable and human side of Pankhurst, through Jones' tender performance. 

Meg Abbott is commanding as Ada Lovelace, effortlessly pulling audiences into her world. Abbott's optimism and genuine curiosity and ambition to improve the world through her inventions helps anchor the musical into a more sensitive and heartfelt story. Abbott's conflicting emotions as she wrestles with potentially betraying her friends is well portrayed. However, it is Abbott's vocal performance that cements her as one of the musical's biggest strengths; which is continually met with rousing applause from the audience. Her act one closer, in particular, will no doubt be cemented as a favourite for any fan of musical theatre. 

Ashleigh Cassidy as Ethel Smyth steals the show at every turn, with a fiery performance that is unforgettable. Cassidy transforms Smyth's confidence into a battle cry of sorts, refusing to ever make herself smaller. Cassidy is mesmerising in the role, captivating the audience with her every move; delivering a real masterclass in her performance. Cassidy delivers the quick fire one liners perfectly, and really brings the spoken word portions alive with a radiant and passionate performance. 

McKenzie has ensured that each of the characters feel well-rounded and their contrasting personalities all come together to slowly form a solid friendship throughout the musical. The musical which often has the "system" present as an invisible character (portrayed by a voice over and clever lighting), looms ever-present in the shadows without upstaging the cast of four. Choreographer Grace Browning (in her UK debut), helps with these scene transitions, allowing for a simultaneous scene split on stage as multiple subplots begin to unfold. The confrontation between Lovelace and Callum is also well executed, especially in the intimate space. 

Adam Gregory's lighting design helps with these scene splits, ensuring that audiences are able to follow closely without any confusion. Gregory's lighting design is particularly impressive with the use of four vertical tube lights adorning the two walls to denote "the system", which provides an additional layer of intelligence and a sense of eerie to the musical. The moment of a massive computer glitching is a wonderful and clever touch. However, the choice to include moving spotlights during an emotional number can feel a little distracting or overwhelming at times. At this performance, the sound quality was fairly poor in the first act, with all the mics on at all times, which unfortunately did contribute to additional distractions, but was thankfully resolved for the second act. 

Flyology is an ambitious and clever musical that really interrogates the dangers of artificial intelligence, the ever growing reliance on technology and the continually troubling issues with women's rights. The musical takes a while to find its beating heart buried under the technological jargon, but once it does, it becomes an inspiring musical that speaks with a strong feminist agenda. As the three women come together to reclaim and rewrite their story, quite literally bringing down the system and overthrowing the men who try to oppress them, the musical is not one to be missed. 

Flyology is already a well-thought out and strong musical, but a little more tweaking will no doubt take it to new heights. The music soars between beautiful ballads, comedic duets, and powerful anthems, with clever lyrics, witty spoken word and thought provoking dialogue. 

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Tom Chaplin