Staged across the street from Operation Mincemeat, it’s exciting to see another brand-new musical hit London’s West End, even if only for two nights.
With original music and lyrics by daughter and Dad team Kjersti (17) and Jeremy (age undisclosed) Long and book by Melissa Leilani Larson, it looks to tackle family relationships and mental health, with music and art a thread connecting generations of women. It’s the latest in a trend of concerts that are effectively fully staged productions complete with sets, props and costumes—a bonus for the paying audience, a tricky proposition for the reviewer.
Musically, the modern score pulses and for a concert staging is perfectly cast, with three vocal powerhouses as the leading roles. Mica Paris and Dujonna Gift’s voices soar and blend beautifully and, although woefully underused, David Bedella still makes an impact as a succession of well-meaning fathers.
Long herself makes up the fourth lead character as Sydney Hill, a global pop / rockstar whose music underscores the show and who’s premature death opens dialogue between mother (Paris) and daughter (Gift). Like a spectre at the feast, she doesn’t interact but instead watches on and springs to life to deliver raw and cursive lyrics. This approach works reasonably well for act one but makes increasingly little sense as the story unfolds.
Supported by the London Musical Theatre Orchestra, backing singers and an ensemble of dancers, the concert element of the evening is certainly enjoyable with some standout moments including "Who Turned The Lights Out" and "The Disguise".
As a piece of musical theatre, however, the show is sadly lacking, with a convoluted and clichéd book, fussy choreography and staging that somehow makes the large stage at Drury Lane look cramped. Although clearly aiming to explore serious themes and tap into teenage angst and energy (think Dear Evan Hansen with a sprinkle of Spring Awakening), it fails to build any dramatic tension and, despite Gift’s best efforts, the family scenes are wooden and unbelievable.
The music only occasionally drives the plot forward and yet is clearly the beating heart of the show, so there is often a huge disconnect in tone and style as well as plenty of uncomfortable pauses. The narrative decision to move through various time periods in the second act is clearly meant to add layers but instead is too rushed and clunky with the songs feeling shoehorned in. The result is a seemingly never-ending first act and a second that’s over in an unsatisfying blink of an eye.
There is no doubt that Kjersti Long is incredibly talented and Little Piece of You certainly has potential but in its current form is unfortunately a jarring and unevenly paced production that lacks emotional depth and nuance. Musically, the soundtrack is well worth a listen and as a concept album an exciting example of new musical theatre, but the show itself is nowhere near ready for full staging.
I doubt, however, that this is the last London audiences will hear of Little Piece of You and look forward to a more developed iteration that hits dramatic notes as well as it does harmonies.