While I cannot wholeheartedly recommend this one-man zombie apocalypse rock musical from Korea, I must admit I thoroughly enjoyed it. The Last Man, created by Jishiuk Kim and Seungyeon Kwon, is not a case of being so bad it is good. Rather, it excels at a number of contradictory elements that ultimately clash with one another. I was never entirely certain whether the entire production was a massive joke, and I suspect the writers shared my uncertainty.
A Musical of Contradictions
With its widdly 1980s rock guitars (intended as a compliment) and comical lyrics of ambiguous intent (including a song with the chorus refrain 'THE MOTHERFUCKING ZOMBIIIIIEHS'), the show often carries an endearing Trey Parker and Matt Stone-esque air of faux machismo. Whether this is meant to amuse is unclear; I believe it is, but the show never fully commits to the joke.
The Plot
Lex Lee portrays a young resident of Seoul whose passion for zombie apocalypse films has enabled him to recognize the early signs of an actual zombie outbreak. Consequently, he has constructed a bunker stocked with six months of food and a sophisticated climate control system. (The role is alternated with actress Nabi Brown, who presumably brings a different interpretation.) The first half of the play consists of The Survivor recording video diary entries for future generations, reflecting on the apocalypse, the events leading up to it, and a childhood marked by complicated relationships—embodied by an old teddy bear in the bunker that he struggles to remember receiving.
Performance and Direction
Kiwi actor Lee delivers a highly watchable lead performance. As a solo vocalist of intermediate strength, he initially struggles to be heard over the show's bombastic opening number—a narrative account of a massive zombie attack—but soon settles into the role, making the one-man format engaging. However, the show's lack of clear identity is apparent; it could be significantly improved by committing to a specific angle. If the writers intended humor, it would surely be much funnier. While the motherfucking zombies are presumably meant to raise a smile, Daljung Kim's direction is not playful enough, and much of the storytelling is overly earnest. The show originated in Korea, but this UK edition features dramaturgy from Jethro Compton, mastermind of The Curious Case of Benjamin Button. It would be fascinating to know his precise influence—likely on the funnier elements.
Missed Opportunities
The show does not engage with the zombie genre as intelligently as it might. I am not suggesting a full meta approach, but rather that it answer more questions about what is happening and what The Survivor's plan is, as he never seems to consider that the zombies might move on or die out. Additionally, early efforts to cast doubt on whether the zombie apocalypse is real or all in The Survivor's head are theoretically good storytelling, but the character's psychology does not convincingly support the ambiguity. The groundwork is never laid for a serious explanation of why he might have hallucinated an entire zombie apocalypse.
The Last Man is weird, goofy, and confused. Yet it is such a quixotic endeavor—a one-man zombie apocalypse musical, for goodness' sake—that I had a good time despite its obvious befuddlement. Whether you want to spend your own money on this endearing folly is another matter.
Details
Address: Southwark Playhouse Elephant, Dante Place, 80 Newington Butts, London SE11 4FL. Transport: Tube: Elephant & Castle. Price: £24-£32. Running time: 2 hours.
Dates and times: Fri 22 May 2026 19:00; Sat 23 May 2026 14:30 & 19:00; Mon 25 May 2026 19:00; Tue 26 May 2026 19:00; Wed 27 May 2026 19:00; Thu 28 May 2026 14:30 & 19:00; Fri 29 May 2026 19:00; Sat 30 May 2026 19:00.
