Supersonic Man – Southwark Playhouse

Southwark Playhouse Borough hosted the world premiere of ‘Supersonic Man’ this week, a new musical written and directed by Chris Burgess, which sets out to blend science fiction spectacle with emotional resonance and love within the LGBTQI+ community. It is inspired by the remarkable real-life journey of Peter Scott-Morgan, as seen in Channel 4’s ‘Peter – The Human Cyborg’, and follows Adam, a Brighton-based influencer, who faces a devastating diagnosis and chooses to defy it, not by surrendering, but by exploring an experimental path, exploring transhumanism to reclaim control and live a full life.

The production offers up a bold premise, full of potential for both drama and imagination, but unfortunately, it doesn’t quite live up to the ambition of its concept and remains somewhat underwhelming, despite its lofty intentions.

Though the show aims to deliver a vibrant mix of musical theatre, comedy and futuristic exploration, the execution falls short across all key areas. The score, under the musical direction of Aaron Clingham with arrangements by Steven Edis, struggles to land emotionally or musically. Numbers are forgettable and often indistinct, lacking the impact or lyrical finesse necessary to elevate the storytelling. In fact, the songs seemed to appear out of nowhere, with little justification, blending in a way that diluted their emotional or storytelling impact. At times, it was clear that this production would have been better as a play rather than a musical.

The direction feels uncertain, with tonal shifts that veer abruptly between camp humour, emotional intensity, and speculative science. Staging choices, including frequent entrances and exits, and performers regularly seated among the audience, disrupted the rhythm, and gave the production an unpolished and amateur feel. This lack of cohesion is matched by choreography from Philip Joel that feels under-rehearsed and inconsistent in style.

The committed cast, Dylan Aiello, James Lowrie, Jude St James, Dominic Sullivan, and Mali Wen Davies, bring clear enthusiasm, but the performances vary in quality. Some moments land with sincerity and heart, but too often scenes fall flat, undermined by vocal unevenness and awkward staging. Despite this being her first professional role, Mali Wen Davies gave one of the evening’s strongest performances, often outshining her more experienced castmates, with a refreshingly confident performance, displaying a level of assurance and nuance that was not always matched elsewhere in the cast. The emotional arc of Adam (Aiello) and his partner Darryl (Sullivan) is intended as the show’s heart, but without a stronger book or more nuanced character development, it’s difficult for the cast to fully invest.

Production design by David Shields and lighting from Richard Lambert offer glimmers of theatricality but can only do so much when the narrative lacks clarity and momentum.

There is no question that ‘Supersonic Man’ is rooted in a meaningful and relevant story about resilience, identity, and rewriting the limits of human experience, but in its current form, the musical feels more like a workshop than a fully formed musical. A revision of the score, tighter direction, and greater attention to performance detail is needed for it to truly take flight on a bigger stage.

‘Supersonic Man’ runs at Southwark Playhouse Borough until May 3^rd and tickets are available here: https://southwarkplayhouse.co.uk/productions/supersonic-man/

Reviewer: Alan Stuart Malin

Reviewed: 11^th April 2025

North West End UK Rating: