Review: THE LAST FIVE YEARS, Garrick Theatre

There is something unexplainable and idiosyncratically intimate about Aria Entertainment's The Last Five Years. In a journey begun at Southwark Playhouse right before the pandemic hit our stages, Jonathan O'Boyle's production of Jason Robert Brown's beloved musical has redefined the piece itself to the point where now there probably isn't a purest way to make the show.

After some more tinkering during the covid-mandated reflection period, the story of Jamie and Cathy's ill-fated relationship has moved to the West End. Oli Higginson and Molly Lynch reprise their roles in the new staging, delivering astounding performances that are even better and more nuanced than their first rodeo south of the river (you can read our previous four-star review here).

Brown's piece has grown to be one of the most produced since its premiere in 2001. This is partly because of the relative inexpensiveness (all you need is two actors and a band) and mostly because of the profound realness of the characters and situation portrayed, all tied together with an exploration of music genres that goes from pure pop to blues and folk.

Jamie Wellerstein and Cathy Hyatt are deeply flawed people. He starts the musical as a rising star in literature who goes on to be described as "The saviour of writing" (by his enraged wife in 'See I'm Smiling'), but she maintains her position as a struggling actress throughout.

More than anything, they're both obsessively self-involved. While their story is a predictable one, its success and popularity come down to Brown's storytelling. The two characters never actively interact, meeting only once in the middle ('The Next Ten Minutes'). Cathy's story is told in reverse, while Jamie's journey is more traditional.

Their existence in the show - and, one might point out, in their liaison - is separate from the other's. O'Boyle's creation heightens the disconnection between the two and sets out to investigate human egotism. A grand piano dominates the scene once again, while now three enormous carnival letter lights (L, 5, Y - Last 5 Years) act as a background removing them from any definite space and time (although a classic New York traffic cacophony is played pre-show and there are many references to the city) and hide the band.

Higginson and Lynch become satellites, hovering around the central instrument and taking turns at the keys. This creates a private atmosphere where audiences merely gawk as the cracks in their relationship become bigger. A slightly tilted revolve hosts the piano and much of the action, capturing the circular motion of their storylines in an immediate visual picture.

Jamie Platt's lighting design becomes crucial in the symbolism. Warm, welcoming hues cascade over Jamie as he falls head over heels for Cathy, who in turn starts off inundated by the cold tones of separation until the shades are reversed. As it goes on, the subsequent amalgamation of the colours becomes a fundamental visual code that speaks for their journeys and different stages in life.

As the parallels between their opposing storylines become apparent, the imagery crystallises their personal roles in each other's lives too. Jamie's rising fame puts Cathy's shortcomings in the acting business to shame. In 'A Part of That' she revels in being his wife as she gets to enjoy his spotlight very briefly, until she questions her own presence in his life.

Blind to each other's needs, the fracture in their relationship is there from the very start - both due to Brown's kickoff with Cathy's reading Jamie's goodbye letter and the immediate focus on Jamie's career rather than his feelings for her.

Lynch's emotionally charged 'Still Hurting' establishes the couple as equals due to O'Boyle's exceptionally atmospheric introduction. While the focus is definitely Cathy, sharp lights silhouette Jamie at the piano, so that it's impossible to exclude him from our sightline. From then onwards, their presence on stage becomes so intertwined with the other's and yet so removed from it.

'Shiksa Goddess' puts forward an energetic and hyper Jamie. His excitable puppy nature slowly dwindles until it turns into self-hatred and guilt in Higginson's full-hearted performance. He chases after music and lyrics, excited and in love, until his side of the relationship is merely running on fumes.

While Jamie's descent into adultery and carelessness is defined by his growing career, Cathy's heartbreaking ascent into the young woman she once was is stifled by it. Lynch's angry Cathy is faultless, fiery, and fierce in the performer's 'See I'm Smiling', a song that mirrors in its essence the whole musical.

The production is filled to the brim with refined detailing that has their timelines briefly touch. Cathy puts back her watch right after Jamie's gifted it to her; she slips a wedding ring on his finger during their (impressively visceral) ceremony right before removing hers as she dials back to the time before their marriage. O'Boyle's is an exquisite production on all levels.

Eventually, 'Goodbye Until Tomorrow / I Could Never Rescue You' comes and weaves them together one last time. The collision between Jamie's freezing cold lighting and Cathy's warm tint intensifies the final separation between them, circling them back to the very start.

O'Boyles succeeds in bringing the intimacy that was forced by Southwark Playhouse's size to a theatre that seats more than three times that number of people. It's an extraordinary show, it houses gut-wrenching performances accompanied by phenomenal visual elements and a gorgeous (and very catchy) score. It definitely is a must-see.

The Last 5 Years runs at the Garrick Theatre until 17 October.

Photo credit: Helen Maybanks

To post a comment, you must register and login.