An interesting concept that needs development.Rating
Ok
The concept of Flyology is intriguing. A tech bro creates a piece of software designed to eliminate all emotion and feeling from business decisions, only to find his ambitions thwarted by three stalwarts of British history who are pulled into the modern world through his creation: Ada Lovelace (Meg Abbott), Emmeline Pankhurst (Aishling Jones), and Ethel Smyth (Ashleigh Cassidy). The three women proceed to wreak havoc as they attempt to stop the entrepreneur from getting his way.
There are lots of great elements within Flyology, but this production still needs significant work. The quartet of actors on stage all do an excellent job with the material, while the offstage AI voice, performed by Charlotte Webb, is particularly effective. However, the concept feels too expansive for a 70-minute show, especially one with a 15-minute interval. The character of Callum (Charlie Renwick) comes across as somewhat pantomime-like, and his interactions with the audience rarely land as intended. The three women are given some lovely musical numbers and all possess fantastic singing voices, but none of the themes recur in a way that makes the songs especially memorable. This is a real shame, as some of the melodic writing is excellent, and the harmonies even more so.
The plot centres on Lovelace, Pankhurst, and Smyth trying to escape the present day and return to their own time. Lovelace is the primary instigator of this plan but is manipulated by Callum into serving his own agenda. Meanwhile, Pankhurst and Smyth seem to have little agency within the wider narrative, instead falling in love with one another. This leads to a beautiful song, and the performances here are genuinely touching, but it contributes little to the overall plot. The pair ultimately feel rather passive, which sits uneasily with the women they were in real life. Granted, Smyth is given some excellent speech-like passages, but neither character’s involvement meaningfully contributes to the eventual “victory” of the three women. The ending is also somewhat puzzling. It is possible to see what the book is attempting to achieve, suggesting that AI may eventually take over the world, and perhaps already has, but the closing lines leave the audience more confused than provoked.
Some of the lighting choices also felt unusual and, at times, distracting. The set itself is well designed, though there are moments where its use becomes confusing. There also appeared to be issues with the microphones, as a considerable amount of backstage shuffling could be heard throughout the performance.
Flyology has a genuinely interesting concept, and with further development of both plot and characterisation, it could become a very strong piece of musical theatre. Its saving grace is undoubtedly the score, alongside the moments of humour delivered through Smyth’s character. It is certainly worth keeping an eye on as it develops, as it has the potential to become something truly special.
Book & Lyrics by Cathy Farmer
Music & Lyrics by Tamiko Dooley
Produced by Ashleigh Cassidy
Directed by Craig McKenzie
Lighting Design by Adam Gregory
Choreography by Grace Browning
Flyology has finished its run at the Union Theatre.
