When brilliant but unpredictable engineer Daniel steals a spacecraft and vanishes into space, he leaves behind Emily – a fiercely intelligent documentary film maker – and their complicated past. Through flashbacks and space logs, this captivating new musical answers why he left.
Flyby is a new British musical that resists easy categorisation. Written by Theo Jamieson and directed and created by Adam Lenson, this five-hander stars Poppy Gilbertand Stuart Thompson alongside Gina Beck, Rupert Young and Simbi Akande.
After an engaging 30-minute preview of the show's musical numbers, the cast and creators sat down to offer a vivid insight into a bold and unconventional work, one that blends sci-fi imagination with deeply human storytelling.
Reflecting on how the project came together, Beck revealed just how quickly it moved, she was approached only in mid-January. After reading the script and speaking with Jamieson, she recalled thinking, “this sounds unbelievably exciting, why wouldn't I say yes?” Young and Akande shared a similar reaction, with Akande noting that she “absolutely wanted to be involved” as soon as she read the material. Gilbert described the script as “exceptional, a remarkable piece,” while Thompson admitted he also felt an immediate connection to the role: “I remember calling my agent after I'd had a sing-through with Theo, I was so thrilled!”
At its core, Flyby is an ambitious piece. The cast describe it as fusing abstract, sci-fi elements with grounded, emotional storytelling. Acting as a kind of Greek chorus, Beck, Young and Akande's characters observe and reflect on the central relationship between Daniel and Emily, offering a layer of commentary that is as emotional as it is structural.
For Gilbert and Thompson, that central relationship is what anchors the show. The story explores two flawed people navigating love, trauma and vulnerability. “They're so flawed, but they are trying,” Thompson said, suggesting that this emotional honesty is where the show's catharsis lies. Gilbert added: “I love her [Emily] so fully, I feel very defensive of her,” even while acknowledging Emily's more challenging traits.
For Jamieson and Lenson, that emotional truth is the driving force behind the piece. Lenson explained his desire to capture something deeply authentic: “what would a musical be like if it tried to do something really accurate and realistic with what it feels like to be a human in a relationship?”
He also described the show as “unbelievably truthful” in its exploration of human connection, even while using heightened, imaginative elements. He added that the piece ultimately asks fundamental questions about “why we're alive and what it means to be human beings,” balancing that ambition with “a real sense of humour.”
The origins of Flyby were similarly organic. Jamieson recalled writing the first few minutes of the show on the bus home after seeing Lenson's production of Little Women (“something about that galvanised me”), before the piece grew gradually over a couple of years. Workshops, including a key presentation at the National Theatre, helped shape the work.
The score is complex and demands intense focus from performers. Gilbert, who is better known for her straight acting roles, described the process as learning an entirely new skill: “I've not really learned a new skill as an adult with this much intensity and I really love it.” Lenson, meanwhile, spoke about the emotional power of music itself, describing songs as “good at allowing you to touch emotions.”
That same complexity extends to the audience experience. Rather than something passive, Flyby actively demands attention. Gilbert described it as “an antidote” to modern “second screen” viewing habits, while Jamieson suggested the show invites audiences to engage and interpret: “people had wildly different opinions on the characters” in earlier workshops, adding that the team continues to learn from the range of responses the piece generates.
Thematically, the musical doesn't shy away from darker material. It explores trauma, complex family dynamics and emotional isolation, symbolised, in Daniel's case, through the motif of space. Thompson described it as “a beautiful metaphor about isolation,” while the wider cast pointed to the show's brutal honesty.
If there's one challenge the company agrees on, it's how to describe the show to potential audiences. Thompson said, “It's hard to be succinct or boil it down, but I think that's the beauty of it.” Jamieson also pushed back on the idea that experimental work cannot be mainstream: “I think there is an audience for this piece.”
Still, there's a shared belief that word of mouth will be key. “It's such a word-of-mouth show,” the cast agreed, with Gilbert adding that there's something exciting about discovering “a beautiful piece of art” that not everyone knows yet.
Unusual, demanding and emotionally rich, Flyby may resist simple explanation, but for those willing to lean in, it promises an experience that is emotional, thought-provoking and ultimately deeply human.
The show begins performances at Southwark Playhouse Borough on Friday 3 April and runs until Saturday 16 May 2026