A colourful, exuberant musical that explodes with humour and sincerity, BEEN SO LONG encompasses the very soul of North London in a stunning, contemporary tale of love, loss and overcoming the past.

On the estates of Camden, young mother Simone, played by the riveting Michaela Coel (Chewing Gum, Black Mirror), cares for her disabled daughter with the help of her sister Yvonne and mother Martina. Previous abandonments and the struggles of a single parent have left Simone conservatively protective, causing her to feel quite isolated as she endeavours to provide the best life possible for her daughter, who remains sprightly and sarcastic, despite their circumstances. After a spontaneous night out at the local bar, Simone meets Raymond (Arinzé Kene), a charming and gentle ex-con, newly released from a non-violent sentence, and they fall madly for each other. Living with his mum and working a low-paying council job, Raymond’s life is not one of glamour, but he is desperately trying to rebuild the integrity of his past, and the chemistry between the pair is utterly absorbing, all while feeling completely natural.

There is a rich vibrancy that oozes from every crevice of this close-knit community, laced with urban jazz numbers and melodic sexuality. During the Q&A, Cinematographer Catherine Derry spoke about the importance of having a colour palette for each character, explaining that “London is typically portrayed as grey in films. We took risks in deciding to shoot just after dark to get the lights of the city.” Composer Christopher Bangs also spoke about the visualisation and production process, recalling the extensive rehearsal period, testing the choreographed systems and the definitive need to capture the live singing.  He noted that “the key was not to hear the change from when you switch from real world to song world – we wanted to make it as seamless as possible. I ended up having two roles really: editing the production songs and composing in-between to make this transition unnoticeable and flowing.” These production decisions imbue BEEN SO LONG with an essence of urbanised fairy-tale romance, and while the music does not have a natural catchiness, the collective vibe of this adaptation is very memorable.

Although waning at times, the film’s subplots offer an honest look at how lives naturally intertwine, and a behind-closed-doors insight into characters’ moods or attitudes. One may take this as being too obscure an insight, but it is refreshing to explore these smaller characters in a creative way. There’s Barney (Luke Norris), the bartender, whose worries over financial strains realistically represent the economic situation in London, that lays hidden behind all the bright colours and fancy songs. Similarly, the captivating Gil (George Mackay), who elicits laughter throughout the film, alludes to his erratic behaviour being down to drug abuse and mental illness, against the backdrop of a disused bus shelter and glittery chorus girls. In this way, BEEN SO LONG delicately raises awareness about social taboos and issues in London that affect many working-class citizens, and then  sugar-coats them so the city can keep its shiny reputation.

While, to a cynic, the finale may seem like the typical big stand sing off that neatly repairs all damaged relationships and tensions, in actuality it not only provides a happy ending, but also demonstrates the unity of London in the face of adversity and gentrification. Though the Netflix release lacks the deep heart and soul of a typical musical, and occasionally feels as if it is chasing itself to remain relevant, there is much potential at its core, and a clear understanding of the traits of a modern demographic and its captive elements. Director Tinge Krishnan takes the glow from Che Walker’s original stage production, wraps it in silky neon lights and soulful romance, and cooks up a dazzling theatrical rom-com, all cemented by Simone’s witty non-nonsense attitude, familiarity with the city-suburb community and catchy show tunes.