Words by Melissa Blease | Production images by Alex Tabrizi
Since its premier in Chicago in 2001, writer and composer Jason Robert Brown’s poignant analysis of how, why and when a relationship between two young people breaks down has slowly but surely garnered traction, acclaim and a cult following. While director Richard LaGravanese’s 2014 film version didn’t quite scale similar popularity heights, the stage production regularly tours to small theatres across the globe, pitstopping at the Ustinov Studio this festive season to offer an enthralling alternative to traditional Christmas show shenanigans.
The Last Five Years could be pitched as Andrew Lloyd Webber’s Tell Me On A Sunday meets Jonathan Larson’s Rent, liberally seasoned with splashes of Sondheim and subtly sprinkled with the kind of witty spikes that put me in mind of Robert Lopez/Jeff Mark’s Avenue Q. But that’s not to say that we’re not on uniquely original territory here; Brown’s storyline was inspired by his own experience of marriage break-down, which gives further authentic texture and depth to the rise and fall of an already nuanced narrative resulting in an up-close-and-personal analysis of modern love.
Aspiring actress Cathy begins unravelling that analysis at the end of her relationship with Jamie. Jamie, meanwhile, starts at the very beginning. Their stories meet for one beautiful moment in the middle… at which point their wedding vows are little more than a poignant portent of the annihilation of promise.
The whole dynamic, one-act emotional rollercoaster is told via a continuous score of 14 musical numbers, the two central characters supported by four musicians (pianist Tim Jasper, guitarist Wills Mercado, cellist Rebecca Demmer and bass guitarist Angus Tikka) who continually interact with Cathy, James and each other and double-up in supporting roles as agents, producers and — in one solemn scene — a lover.
Martha Kirby’s personification of Cathy can only be described as exquisite. Her flawless vocal range soars and plummets from joyful, youthful optimism to the depth of mature despair by way of the myriad perspectives, frustrations and despondent moments that lead her and Jamie to their last goodbye at the very start of her story.
As Jamie, Guy Woolf artfully fills in the gaps in a linear, blokey, less effusive way. He’s fast and funny, skittish and excitable… but ultimately, too self-absorbed to notice that his ego allowed him to neglect the strong but vulnerable woman he fell in love with. As charismatic as Jamie is, it’s difficult to like him — this perspective being, in itself, further testament to Woolf’s outstanding performance.
Meanwhile, Ethan Cheek’s elegantly minimalist set designs work in perfect harmony with Jonathan Chan’s super-smart lighting to bring palpable patina and an immersive sense of time and place to every scene.
Inherently moving without any schmaltz, technically impressive without any domineering dazzle and delivering long-lasting impact in a relatively short space of time, tickets for this impeccably-staged work of modern musical theatre art should top your Christmas wish-list.