Step Behind The Stage
The Last Man
Southwark Playhouse, London - 14/05/2026
Review by Alex King
Photo Credit: Rich Lakos
After starting life as a web musical, The Last Man has developed a cult following and after huge success in its home country of Korea as well as China, this one person musical about survival and hope is running its first English language production at the Southwark Playhouse Elephant until the 13th June. After a strange and unknown virus takes hold of the population, one prepared survivor secures themselves in their underground bunker as the audience bears witness to how isolation struggles with hope and what it means to really be alive.
The Southwark Playhouse Elephant's intimate theatre is a perfect space for a musical set in one small room. The claustrophobia builds throughout Shankho Chauduri's set as boxes spill out across the stage and dingy walls create a backdrop for the story that unfolds. Despite the limited space, Chauduri's set helps to tell the story alongside the script and brings the audience even closer to The Survivor's experience. Likewise, Cheolmin Cho and Liam McDermott's lighting and sound design elevate the production's atmosphere and explore the story going on outside the walls of the bunker. Despite never seeing zombies or anything else outside of a short broadcast at the beginning of the show, McDermott's work constantly reminds you of the ever-present creatures that linger just outside the door. Cho's lighting smartly balances recreating gloomy underground lighting without creating an environment that leaves you unable to see. A use of spotlights also works to bring focus to what is on the mind of The Survivor, further drawing the audience into their thoughts.
A collaborative effort, this English language production has Jishik Kim's book and lyrics with dramaturgy from Jethro Compton. Together they have crafted a hugely successful adaptation that has kept the heart of the original Korean language story and shaped it for an English speaking audience. With a one person musical you often have to rely on the suspension of disbelief so the actor can monologue their thoughts and feelings to the audience. With The Last Man however, a brilliant decision to have The Survivor record their days for whoever may find them on their ever dying phone provides a realistic vehicle for the character to express their stream of consciousness. Throughout the story we see various peaks and troughs of what isolation can do to a human, told through spectacular dialogue. We get glimpses of The Survivor keeping themselves entertained by creating mock news stories about the ongoings of the bunker as well as moments of solemn confession, all relayed towards a mobile phone that serves as a focus not just for The Survivor as someone to talk to, but a realistic reason as to why the character talks out loud.
Despite the mobile framing device, it never feels like the performance is directed solely to the phone. Original Korean director Daljung Kim has also helmed this production and does an excellent job at allowing the audience to be absorbed by what unfolds in front of them. His direction utilises every inch of the stage and he has crafted a production with a very strong identity. You can understand the layout of the bunker, how bad it is outside and what The Survivor's experience would really be like.
Photo Credit: Rich Lakos
As a musical, Seungyeon Kwon has composed an absolutely electric catalogue of songs. Even when only working with one set of vocals, Kwon showcases her incredibly versatile talent, creating songs that take inspiration from both rock music and more traditional theatrical numbers while still maintaining an identity of its own. Working alongside Jishik Kim and Jethro Compton, Kwon's music feels alive from the very moment the show begins. A frantic opening number, Into the Bunker, puts the audience on edge, immediately bringing them into the chaos of the world, whereas the tender That's Jeong serves as a comforting celebration of the Korean concept of belonging and togetherness. This production never tries to hide its Korean values. Alongside That's Jeong, there are multiple mentions of Korean concepts, phrases and ideas that are discussed, which helps to build the show's identity even further. A number in Act 2 feels especially poignant where The Survivor reflects on his own 'ingan', which refers to being, and asks whether someone alone in a bunker can really be said to be living at all. It is a beautiful moment of reflection as you approach the climax of the show.
At the centre of it all is The Survivor. Another thing that makes The Last Man unique is its approach to casting. Two actors, Lex Lee and Nabi Brown, share the role across the production's run and on the night we saw Lex Lee. A Kiwi-Korean actor, Lee is truly captivating in the role. Requiring enormous physical and vocal stamina, he carries the weight of the story on his shoulders with a fantastic charisma. Throughout the two hours The Survivor experiences a rollercoaster of emotion and Lex Lee hits every beat with the full commitment the role demands. His vocal ability similarly shines brightly, with each number requiring different skills to which he steps up to the challenge. He is bright and full of energy but equally capable of holding the audience in the quieter moments. With Act 1 getting the majority of the musical numbers, this is where he gets to showcase his singing ability, whilst Act 2 shines a spotlight on his acting skills. There is a shift in optimism that takes place in Act 2 and Lex Lee does an incredible job of viscerally portraying how a human would react if isolated from the world around them, culminating in an emotionally gruelling ending delivered with exactly the right weight.
The Last Man is a hugely ambitious musical. One person, one small room, a collection of musical numbers, and yet it really works. For the entire two hours of runtime you are brought into Bunker B103 and get to witness a dive into the human psyche against a backdrop of survival and isolation. Whether you see Lex Lee or get the chance to see Nabi Brown's take on the role, this is a production well worth seeking out while you still can. The entire team behind this have come together to tell a tale of the power of hope and what it truly means to be alive.