Joel Harper-Jackson in Picture Perfect at the St James Theatre, London. Picture: Jamie Scott-Smith
Picture Perfect: A New Musical was performed at the St James Theatre Studio, London.
‘Pitch Perfect’ could have been an alternative title to this potentially great new show, Picture Perfect: A New Musical, that had its world premiere at the St James Theatre Studio. Whether one calls it a song cycle, musical drama, concert or revue, what we have here is a very promising original new work, a little reminiscent of Closer Than Ever (another mature musical currently at the Jermyn Street Theatre) in form, but conjuring up Next to Normal in style and content.
Josh (Joel Harper-Jackson) is graduating college and preparing to face the future – whatever that may bring. Unlucky in love, he wonders whether the right person is out there for him. Ellie (Charlotte Wakefield), on her gap year from her law degree, wonders whether she’s making the right decisions in life – both professional and personal. Harry and Elizabeth (Jérôme Pradon/Helen Hobson), Josh’s parents, are also at a turning point in their lives – with Harry inadvertently starting an affair with a younger woman, and Elizabeth believing now is the time to finally leave her husband. Is anything ‘Picture Perfect’?
Joel Harper-Jackson is the revelation of the evening. His stage presence and vocal ability are amazing, especially considering this is his West End debut. His only previous professional experience was in the Rent 20th Anniversary tour, but it is clear – particularly during his moving ‘Dear Santa’ song –that he is a West End leading man in the making. Jérôme Pradon and Helen Hobson are impressive as always, both in the acting and singing departments, while Charlotte Wakefield’s range is just as mesmerising in the confinement of the St James Studio Theatre as it was in the open air in the Regent’s Park production of The Sound of Music.
The music and lyrics of Scott Evan Davis are always emotionally intense, especially when beautifully arranged for piano and cello only by David Snyder, and are complemented well by the minimalist direction of Simon Greiff. What the show lacks is a more focused book which allows us to know more about the dysfunctional family and thus creates additional sympathy for the characters. Nevertheless, a new musical in the making which is of such high quality in today’s commercially pressured theatre world is always welcome, so congratulations to Greiff for devising the piece and Stuart Matthew Price and James Yeoburn of United Theatrical for producing.
Patrick Honoré
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