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A pandemic musical with potential and lots of heartSummary
Rating
Good
U.Me: The Complete Musical created by Simon Pitts and Theo Jamieson is an animated film telling the story of Rose (Anoushka Lucas) and Ryo (Martin Sarreal), two young strangers who meet online and fall in love during the Covid lockdowns. Narrated by Stephen Fry, the soundtrack is performed by the BBC Philharmonic and is available on BBC World Service.
The work that goes into creating a full scale musical is not to be underestimated. The technical ability required to weave song and narrative into an engaging production is highly admirable. Great musicals leave a legacy remembered for generations – as do bad ones, perhaps for very different reasons. U.Me: The Complete Musical treads the middle ground. Whilst honouring the conventional facets of musical theatre it also incorporates a contemporary style, but slightly misses the mark in its efforts to portray a cohesive piece.
Co-creator Pitts says, “The pandemic invited us all to look at our lives and think about doing them better, or at least doing them differently. Rose and Ryo in U.Me: The Complete Musical dare to do that, and both somehow come out the other side stronger.” Pitt and Jamieson choose to boldly address many emotionally charged issues such as familial trauma, death and how the 2020 pandemic affected the mental health of so many. In 2021 when the show first premiered and the world was living in a ‘new normal’, this effort to connect scattered and isolated lives during such an uncertain time was necessary and commendable.
The 2024 updated iteration of the musical seeks to expand the story and also explore the years following the height of the pandemic, examining the residual effects that this global event had on society. Unfortunately, this is where it runs into some issues. Whilst the first act focusses on both protagonists, the second centres mainly on Rose which makes the whole production feel like two different stories. The lack of narrative development towards this shift is jarring as the change in gear is quite distinct. As a consequence it fails to thoroughly delve into the important emotional themes within the story, which greatly diminishes the impact of the dramatic moments.
There is also the narration by Fry which doesn’t quite complement the style of this musical. His voice contrasts in a way that sounds aurally out of place in tone; as though it was recorded in isolation without hearing the rest of the piece. The addition of Fry to the cast has no doubt been a welcome boost for publicity, but the production would have benefited from choosing a voice that is better suited to its tempo.
Despite the issues within U.Me: The Complete Musical, it does have scope for further development and, even, the potential to be adapted for stage. The themes are universal and still very relevant four years on. Whether there’s audience hunger for a staged pandemic musical amidst the current assortment of global crises, however, is up for debate.
In response to a life altering experience, creatives across the UK share their time and talent to provide a conduit through which audiences around the world can feel hope joy and connection. Though life has migrated significantly since that time, it’s important to remember how vital it was for so many to have access to mediums like this. It is a wonderful act of collective altruism and a powerful example of the benevolent impact of the arts.
Book by Simon Pitts and Theo Jamieson
Music and lyrics by Theo Jamieson
Music production by Steve Levine
Animation produced and directed by Dan Masterton.
A Magnum Opus Broadcasting and Mighty Pie Creative Studio Production for BBC World Service.
More information, including where to enjoy U.Me: The Complete Musical, can be found here.
