Professor Gus Jamieson (Will Batty) is a man with Autism Spectrum Disorder and an idea for how to save humanity. His cure for infectious diseases will prevent another pandemic, provided he can get approval for the initial stages of lab trials. Written as a collaboration between microbiologist Andrew Singer and theatre-maker Christina James, this one act play explores how science and ethics interact to have real-world consequences.
Opening with a Greek chorus that leaves us in no doubt how the play is going to go, we follow Gus as he navigates work, romance and his ASD in his desire to eradicate disease. Egged on by an enthusiastic student (Nina Fidderman), Gus becomes caught between the more cautious advice of those closest to him and his confidence in his own scientific abilities.
The stage craft from directors Christina James and Freya Griffiths is for the most part a clever and effective backdrop. Four chairs are moved around the stage to indicate different rooms. Paper covers the floor, piling up as the play progresses, used for everything from lab results to percussive instruments that accompany the ominous music every time the Chorus comes on stage. The Chorus itself is a weak spot, interesting at the beginning but towards the end it interrupted the action instead of supporting it. Red ribbons provide the only colour, symbolising the red tape that Gus is desperate to bypass but also boxing him in as he gets closer to a decision that could change everything.
The ethics of scientific progress is a big subject to cover in 90 minutes, and at times it felt rushed. Giving the main character ASD provided a further complication. Gus meets his girlfriend (Marianne James) when she speaks at a conference about her work with ASD and suicide; he sees a therapist (Emily Wallace) because of his struggle with social cues; he talks to his cat (Charlie Culley) as a sounding board for his uncertainty in social situations. Gus’ diagnosis features strongly throughout, and the character is brilliantly played by Will Batty, down to the twitching little finger when Gus is feeling anxious. However, it’s never really clear what the play is trying to say about it. Ultimately, ASD felt like a device to drive the main plot, making the character more likely to go along with the rapid progress of his invention, and providing a Chekhov’s gun at the end. The writers have tried to cram two big topics into one, and as a result, the play doesn’t quite work. Even so, Panacea is an enjoyable watch, well-acted and staged, exploring interesting and relevant questions about current developments in science.
The show runs till the 21st of March at the Riverside Studios, Hammersmith. Tickets are available here: https://riversidestudios.co.uk
Reviewer: Charlotte Mansfield
Reviewed: 17th March 2026
North West End UK Rating:
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