INTERVIEW: Anoushka Lucas on the power of connection in ‘U.Me: The Complete Musical’
Photo: Anoushka Lucas stars as Rose in U.Me: The Complete Musical. Photo courtesy of the artist / Provided by Candi Adams PR with permission.
U.Me: The Complete Musical will be released in both audio and animated form Wednesday, Feb. 21, on BBC World Service, BBC Sounds, YouTube and podcast providers, according to press notes. The unique project, which was developed during the height of the pandemic, follows the characters of Rose (Anoushka Lucas) and Ryo (Martin Sarreal), two young people surviving the pandemic and finding a connection with each other. They eventually fall in love and, when it’s safe to do so, decide to collapse their geographic distance and meet in person.
This special project, presented as a podcast and accompanying animated film, features the narration talents of none other than Stephen Fry. The cast also includes Cat Simmons and Kamilla Fernandes. Together they bring to life the book by Simon Pitts and Theo Jamieson, and music, which is also by Jamieson and produced by Steve Levine.
Recently Hollywood Soapbox exchanged emails with Lucas about this unique project. She is the ultimate multi-hyphenate, listing singer, songwriter, composer and actor on her résumé. Some of her career highlights include the musicals Oklahoma! and Jesus Christ Superstar. Questions and answers have been slightly edited for style.
What first attracted you to this unique project?
The tape for this project came into my inbox in January 2021. I was (like everyone) stuck inside my house. I was meant to be in rehearsals for a play that had been postponed and would be indefinitely postponed, and so I found myself in the deepest, darkest winter, mourning the possibility of being at work! This project felt like a gift, and when I started discussing the subject matter and also heard Theo’s songs, I became really keen.
What did you like about Simon Pitts and Theo Jamieson’s words and music?
I think Theo’s lyrics tend to tread such a great line between conversational and literary. They make Rose a really immediately accessible character to play. Besides that, the music is often quite challenging and demanding, in terms of vocal span and breath, and (within reason!) I love a challenge.
What do you love about the character of Rose?
I think Rose is always trying her best, and she fails a lot and often. But her commitment to continuing to try is really beautiful. It’s sort of all you can do, when it comes down it!
Do you believe the pandemic, although a dark time for many people, sparked creativity and passion and love? Essentially, do you believe in the story of Rose and Ryo?
Oooof, this is a big question. I think we’ve barely started unpicking the effects of the pandemic on every aspect of our psyches. I’m not sure those of us that lived through it will be the ones to make sense of it, if I’m totally honest. I think future generations will have a more objective take on it than any of us can have. For my part, I certainly feel like the central relationships in my life became more vivid and meaningful, partly because a lot of the rest of life dropped away — work, going out, peripheral relationships. I totally believe in Rose and Ryo. I think when a lot of life fell away, we all of us were reaching for connection where we could make it grow!
When recording for the podcast / animation, were you in the same room as the other performers, or recording at different times and in different places?
The first one we largely recorded all together, in Dean Street, but actually with the second installment, I was in a show (Oklahoma!) that was quite taxing on my voice. And so we ended up having to pace the recording over a few months as I wasn’t vocally up to doing 12 hours a day of singing! So I recorded a lot of the second one on my own, with just Simon and Theo and our lovely sound engineer. … And that was sort of great because we were able to really dig in on the songs.
Do you sing / perform differently knowing that you’re not on a live stage, but that audience members will be hearing your voice?
Hmmmm, yes and no. On the one hand, in a studio, you can have a lot of gos at something and refine it, and, of course, the mic picks up things at a much quieter level than when you try and project to fill a room. But on the other hand, as far as this is a musical, the songs should be sung through! So I think we tried as much as possible to do it as we would if it were live.
What do you hope audiences will get out of listening to both parts of U. Me?
I hope first of all that they enjoy it! The story has lots of twists and turns, some slightly high stakes. … And the music is large and ambitious, so it should be a very joyful, real, new musical experience. After that, if anyone sees anything of themselves in it, I’ll be delighted.
What’s next for you in 2024?
I’m just about to start rehearsals for The Crucible, where I’m playing Elisabeth Proctor at The Crucible Theatre in Sheffield. After that I’ll be getting into the studio to start work on my next album in the spring, and I’m also currently writing a new play, which will probably take me a hundred years to finish.
By John Soltes / Publisher / John@HollywoodSoapbox.com
U.Me: The Complete Musical will be available Wednesday, Feb. 21, on BBC World Service, BBC Sounds, YouTube and podcast providers. Click here for more information.
