Jodie Comer Stiffs the Stage, Harry Melling Holds a Factory’s Heart

**Jodie Comer and Harry Melling Star in Dark Musical “Stuffed,” a Tale of Loneliness and Taxidermy**

The new musical black comedy *Stuffed* opens with Jodie Comer as Araminta, a reclusive taxidermist, and Harry Melling as Bernie Marshall, an overlooked factory worker. Directed and written by Theo Rhys, the 1‑hour‑57‑minute film explores modern loneliness through a macabre lens.

The story blends absurdity and pathos, aiming to turn its bleak premise into a commentary on the search for meaning in contemporary life.

The pitch—“Sweeney Todd with taxidermy”—signals an ambitious blend of musical theater and dark humor. The plot follows Bernie as he navigates anonymity at an egg‑and‑cheese sandwich plant while watching his mother’s dementia worsen.

When a newspaper ad offers “You could be exceptional,” Bernie confronts the possibility of being remembered, setting the stage for a partnership with Araminta that promises immortality through formaldehyde.

The film’s creators position *Stuffed* as a potential catalyst for off‑the‑beat Off Broadway productions, hinting at future adaptations of Rhys’s debut feature. The cast features Melling’s recent role in the BDSM romance *Pillion*, adding depth to his portrayal of a man burdened by existential dread.

The narrative’s dark humor is balanced by moments of tenderness, reminiscent of the 1971 comedy *Harold and Maude*.

## Background & Context

The high‑concept notion of blending “Sweeney Todd” with taxidermy is the core idea behind *Stuffed*. It aims to use a serious subject—loneliness—to create a musical black comedy that pushes genre boundaries.

Theo Rhys’s debut feature is positioned as an intimate story that could translate to a small‑stage Off Broadway setting, offering a new platform for its unconventional narrative.

Harry Melling, last seen in *Pillion* where he was dominated by Alexander Skarsgård’s biker character, brings a peculiar intensity to Bernie.

Melling’s portrayal is marked by an expression that “seems to bear the expression of someone about to drop 500 feet without a seatbelt on a Six‑Flags rollercoaster.” This unsettling presence drives the film’s exploration of existential horror.

Jodie Comer channels a gothic, reclusive cat lady in her role as Araminta. The character’s dialogue includes “the only thing that’s fixed is death,” hinting at a philosophical bent that contrasts with Bernie’s ordinary existence.

The film also introduces an array of frozen woodland creatures—rabbits, badgers, a deer—that underscore Araminta’s taxidermy practice and her vision of immortality.

## What Happens in the Story

Bernie Marshall works at a factory that produces egg and cheese sandwiches, yet no one there recognizes his name after years of service. When he places a cake for his birthday in the staff room, it remains untouched, underscoring his invisibility.

The situation worsens when he visits his mother in a nursing home; she can no longer remember him, raising doubts about who else knows he exists.

At a low point, Bernie sees an advert in the local newspaper that reads “Overlooked?” and “You could be exceptional.” He wonders if the ad’s promise applies to him. The message echoes his desperate question: “My headstone, what would it say? / Here lies no one,” he sings mournfully.

The ad’s appeal is strong, but it soon becomes clear that Bernie’s mediocrity makes him an unlikely fit for the opportunity.

During a funeral parlor visit, Bernie encounters Araminta. She immediately displays her morbid nature and asks him if he has any family. “No,” he replies, a truth that may be stretched but serves his narrative.

Araminta presents him with a stuffed duck and says, “You could be like him.” She offers to help him “live forever,” suggesting a macabre plan to fill Bernie with formaldehyde. Bernie, startled, runs away and vomits.

## Analysis & Themes

The film’s dark humor is tempered by a tender undercurrent that hints at genuine affection between the two characters. Comparisons to *Harold and Maude* arise because both stories involve a macabre premise that ultimately reveals deeper emotional connections.

The narrative examines whether modern relationships are authentic or merely transactional, as Araminta seeks to “pickle” Bernie’s heart.

Loneliness permeates the story, reflected in Bernie’s unnoticed existence and his mother’s forgetting. Araminta, surrounded by frozen wildlife, demonstrates a different form of companionship: the living world that remains after death.

The film asks whether death forces one to cease existing or if it can create a lasting legacy—a question that drives both characters toward their dramatic conclusion.

Although nearly two hours long, *Stuffed* is essentially a two‑hander, keeping the focus tight on Bernie and Araminta’s dynamic. Their partnership becomes the central tension as the film pushes toward a resolution that balances darkness with subtle compassion.

The runtime reflects the ambition to explore these themes deeply while maintaining a coherent narrative arc.

*Stuffed* challenges audiences with its blend of macabre imagery, musical storytelling, and philosophical inquiry into identity and remembrance. The film’s bold premise and strong performances from Comer and Melling position it as a noteworthy entry in the landscape of contemporary musical cinema.