The Last Man

A gripping new Korean musical making its UK premiere, The Last Man follows a lone survivor trapped in an underground bunker during a zombie apocalypse. As isolation, paranoia, and fear begin to take hold, the line between reality and imagination blurs in this haunting psychological thriller.

There is definitely something intriguing at the heart of The Last Man. A moody bunker musical about isolation, paranoia and zombies? It already sounds like the kind of thing that would either be genius or accidentally become an extended GCSE drama devised piece with a smoke machine budget. Thankfully, this lands somewhere in the middle, with flashes of brilliance, moments of emotional impact, and a script that still feels like it needs another draft or three before the apocalypse fully arrives.

Direction by Daljung Kim in Act 1 is solid enough. I really liked the opening, with Nabi Brown running up to the top level by the band before descending into the bunker space. It instantly establishes the world and provides the production with a strong visual opening. I appreciated the naturalness of the direction, and the staging generally feels clear and grounded. However, some moments slightly lack definition, particularly towards the end when the character attempts to unlock the bunker door after the bows. I understand the intention behind it, but it felt prolonged and clunky instead. It became less “oh finally” and more “why doesn't she just exit the other way?”

Lighting by Cheolmin Cho is one of the production’s stronger elements. The cold pre-show state immediately puts the audience on edge, creating unease before the show has even begun. I loved the band states at the top of the show and the rising heat moment at the end of Act 1, with those warmer, almost concert-like looks adding texture and energy. Even though the show stays in one location throughout, the lighting keeps the space visually engaging without overcomplicating things. One particularly effective moment comes when the survivor attempts to exit the bunker, and the door subtly glows green as the zombie sound effects play. It is a small touch, but a really clever one that adds atmosphere beautifully.

Sound by Liam McDermott works well overall. The pre-show playlist genuinely feels like you have wandered into a city on the brink of collapse, full of panic and tension bubbling underneath everyday noise. Levels are mostly balanced, though there are moments where the band overpowers the vocals and a few lines disappear into the musical abyss. Still, the overall soundscape is immersive and effective.

Set design by Shankho Chaudhuri is visually striking and wonderfully detailed. The bunker genuinely feels like an underground concrete shelter that has been lived in for years. The detail throughout is impressive, right down to the specific food and drink brands used around the set. It all helps build authenticity and makes the environment feel believable rather than simply theatrical.

Costume design by Anna Kelsey is equally detailed. I was told the logo on the jacket links to a real school in the city where the musical is set, which is a lovely touch. The oversized clothing and styled curtain-fringe hairstyles help ground the characters in a very specific world and aesthetic. It is those tiny details that quietly elevate a production and show genuine care behind the design choices.

The video content by Apex98 features some really strong warning alert graphics in both English and Korean, which is lovely to walk into. However, the show is mainly set as The Survivor records her days on her phone, so video plays a huge role in the storytelling. I completely understand why the production has been staged this way; however, the screens become so dominant that they occasionally detract from the live performance itself. Your eyes naturally drift towards the TV screens because they are constantly active, and I found myself repeatedly reminding myself to watch the actor rather than the screens. When the actor is facing sideways, you are forced to look at the screens, which unfortunately pulls you slightly out of the story.

Music and lyrics by Seungyeon Kwon and Jishik Kim are decent enough, with a couple of genuinely catchy numbers scattered throughout. However, several songs feel unnecessary and slow the pacing even further. The same issue occasionally applies to the lyrics, which sometimes spell everything out rather than trusting the audience to connect the dots themselves.

The band, consisting of Charlie Laffer, Jon Cox, Elizabeth Boyce and Rhys Davies, performs strongly throughout and brings real energy to the production. The live instrumentation gives the score far more atmosphere and emotional drive than it might otherwise have had.

Unfortunately, the book by Jishik Kim needs the most work. Towards the middle of Act 1, the pacing becomes painfully slow, to the point where I genuinely felt myself drifting. The show desperately needs to move faster and build tension more consistently, especially given its premise: zombies. The jokes barely land, leaving awkward silences where laughter was clearly expected. The stakes also never fully take off because although the threat of zombies is constantly mentioned, the audience is reassured that the bunker is completely secure and nobody can get in. Dramatically, that removes a huge amount of tension. The interval also completely disrupts the momentum. With such a short second act, the production would benefit massively from trimming some of the dead weight and running straight through at around 90 minutes. The emotional payoff would likely hit much harder without the audience pausing halfway through to queue for a £4 bag of Maltesers. And there are just constant contradictions that feel frustrating. It just feels like this script was just quickly put through without a quality check.

The ending also needs significant work. Suddenly jumping to someone banging on the door feels abrupt and underdeveloped, almost as if the show panicked and realised it needed a conclusion. I do not mind ambiguous endings when they are earned, but this one feels confusing rather than thought-provoking. The sudden character switch involving the supposedly dead phone ringing again and the complete shift in belief feels odd and underexplored. With more development, it could absolutely become effective, but currently, it leaves the audience more puzzled than emotionally devastated.

Performance-wise, Nabi Brown delivers a strong, committed performance. I would have liked a bit more panic and urgency at the beginning, but the emotional escalation throughout Act 2 is impressive. Brown gradually unravels in a way that becomes increasingly engaging, delivering moments of genuine vulnerability and instability. While I never became fully emotionally invested in the character, I think that is more a reflection of the script than the performance itself. There is only so much an actor can do when the material underneath them is uneven. Still, Brown delivers an excellent portrayal of emotional collapse and proves herself to be an extremely talented performer.

The Last Man has all the ingredients for an intense and emotionally gripping chamber musical, but currently feels like a production still in really early development, figuring out exactly what it wants to be. There are flashes of brilliance, but multiple factors stop it from reaching its full potential. With much further development and a tighter, clearer structure, this could become something genuinely memorable rather than simply an interesting experiment with zombies and bunker anxiety.