The Latest New York Revival of Jason Robert Brown's Two-Character Musical "The Last Five Years" Has Plenty of Heart, Soul And Passion To Offset Its Collective, Romantic, Tear-Stained Ninety Minutes of Song

 By James V. Ruocco

In "The Last Five Years," Jason Robert Brown's thrilling musical about the passionate and conflicted relationship of Cathy and Jamie, the actual story and its music are positioned and lensed through two very different time perspectives. Cathy's story is purposely told in reverse. Jamie's reenactment is portrayed in chronological order. Only intermittently, do they reunite (their wedding, for example).

This imaginative concept, impressively staged with bracing energy and harmony, pinpoints the couple's success, disappointments, tensions, viewpoints, breakdowns and career choices with collective analysis and seamless navigation. It's all pretty much easy to follow and understand (Cathy wants to be an actress, but is plagued by weight problems and audition mishaps); Jamie is an aspiring novelist waiting for his big break) and luckily for us, nothing gets lost in the translation.

Truthful.
Innovative.
Clever.
Romantic.
Lively.
Poignant.

The show - one of the best musicals of the year - pays homage to the well-honed reverse narrative of Stephen Sondheim's "Merrily We Roll Along" and elsewhere, depending on the song or situation, recalls the sting, pulse and angst of Jonathan Larson's 1996 Broadway musical "Rent." More importantly, it has plenty of dramatic spine, identity, edge, humor and complexity. It also dances to its own musical beat.

"The Last Five Years" comes gift wrapped with 16 individual musical numbers. They are: "Still Hurting," "Shiksa Goddess," "See I'm Smiling," "Moving Too Fast," "A Party of That,"  "The Schmuel Song," "A Summer in Ohio," "The Next Ten Minutes," "A Miracle Would Happen/When You Come Home to Me," "Climbing Uphill," "If I Didn't Believe You," "I Can Do Better Than That," "Nobody Needs to Know," "Goodbye Until Tomorrow/I Could Never Rescue You." The song cycle, which produces strong storytelling moments throughout the presentation, is a diverse, sweeping mix of musical styles, ranging from pop, jazz, folk and classical to blues, rock, klezmer and Latino. 

Composer/lyricist Jason Robert Brown whose Broadway credits include "Parade," "The Bridges of Madison County," "13" and "Honeymoon in Vegas," uses key but very different rhythms and musical elements to make the unfolding romance of "The Last Five Years" fly high without missing a single beat. It's a win-win situation because Brown knows exactly what he wants as his musical story shifts backwards and forward in time, showcasing point-of-view moments in both Cathy and Jamie's lives.

A master at programming and positioning, the composer/lyricist connects actor to audience using the right tempos, coatings, conceits, tones and expressions. This cohesiveness - alluring, flowing, climactic - brings charm and resonance to the proceedings as "The Last Five Years" goes from scene to scene cushioned by Brown's lyrical phrases, smartly-rendered orchestrations and his percolating structural clarity. It's all very original stuff with moments, here and there, that remind one of the already mentioned "Rent" and the cleverly pungent mindset of Stephen Sondheim.

Much of the power of this two-character musical comes from Jason Michael Webb who doubles as both director and musical director. Using a fast and fluid cinematic approach rather than a three-camera setup for photographing a live play, he delivers a savvy, intimate, detailed work that is controlled, connected and exhilarating. Asking his cast to move freely about the musical's roomy apartment setting, they perform their songs with ease, style and relaxation completely oblivious to the filming conceit, which, in turn, keeps their songs and performances remarkably fresh and musically effective. As the music evolves, both actors are completely lost in the moment, a directorial choice Webb utilizes to full advantage as "The Last Five Years" moves forward to its workable and justified conclusion.

That feeling is also beautifully expressed through Webb's decidedly different use of the musical's very talented band members - Cynthia Meng (keyboard), Brandon Brooks (drums), Sterling Elliott (cello 1 & 2), Orlando Wells (violin), Chelton Grey (bass), Jonathan Linden (guitar).  In this musical telling, they too are asked to move casually about in groups, pairs or simply alone, but without that orchestral back-up feeling. As the songs are being performed full-throttle (we see them; the cameras sees them; the actors don't) Webb brings a wonderfully layered emergence and ambitious entwinement to the material with nary a hiccup, a pause, a hesitation or a misstep. It's all very exciting to watch. More importantly, no two scenes are alike. 

"The Last Five Years" stars Nasia Thomas as Cathy and Nicholas Edwards as Jamie. As Cathy, Thomas offers a vibrant, fresh, realistic portrait of a woman forced to cope with the break-up of her five year relationship with Jamie and the growing discontent of an acting career that is going absolutely nowhere. Through song, she acquires a luminosity and shimmer that is exactly right for her character. Vocally, her voice is soulful and passionate in all of its pitch-perfect registers. She knows exactly how to sell a song -  and sell it does does - with a spirit-sounding bravura and a very playful, torrid abandon. Jamie, as portrayed by Edwards, is a sexy, cocky and charming smooth talker with a narcissistic glow and mindset that he utilizes to full extent to achieve his goal as a successful, working novelist.  As the musical evolves, the actor/singer displays an impressive command of Brown's different musical styles that's unleashed with a rich expressiveness, an abundance of self-assurance and a rousing originality that is perfect for this particular type of musical. Both he and Thomas are not only likeable in their respective roles, but as actors they share an obvious chemistry and love for the material and each other that gives it added bite, dazzle and honesty.  

"The Last Five Years" is one of those raw, eclectic, emotionally charged musicals that celebrates its own individuality and succeeds tremendously as a rocky relationship story spanning five years in the life of a man and a woman as they fight to save their once-happy marriage while moving in completely different directions. With music, lyrics and book by Jason Robert Brown, this two-character musical gets into your head and heart with catchy, upbeat music, refreshingly honest lyrics and a story arc that is wry, witty and profound.

The performances are immaculately conceived and portrayed. Jason Michael Webb's direction is full-bodied and revelatory. And when the lights fade and the story is over, you can't help but applaud the musical's creativity, its sharpness and its life-enhancing truthfulness.

  "The Last Five Years," produced by Out of Box Theatrics, Holmdel Theatre Company and Blair Russell, is being streamed online, now through May 9, 2021. Due to union/licensing rules, there are a number of tickets available per performance.

Tickets for Livestream are $32.50 (you can watch the production once at the posted performance time) and $47.50 for Premium/On Demand (includes access for a 48 hour period, closed captioning plus a behind-the-scenes featurette with the cast and creative team).
To purchase tickets, go to ootbtheatrics.com and make your selection. An access link will be emailed to you 1-2 hours before the performance.

Production photos are by Gerald Malaval

Broadway Icon John Cullum Turns His New One-Man Show "John Cullum: An Accidental Star" Into a Profound, Savvy, Dynamic and Mesmerizing Evening of Theatre

By James V. Ruocco

"Shenandoah"

"On the Twentieth Century"

"Camelot"

"1776"

"Hamlet"

"Saint Joan"

"We Take the Town"

"On a Clear Day You Can See Forever"

"Urinetown"

"The Scottsboro Boys"

"My name is John Cullum. I've been performing in front of people since I was knee high to a grasshopper. Most of the shows I've done and the parts I've played have come to me through the back door. By accident, you might say. Or coincidence. Or just plain luck. And tonight, I'd like to share with you some of my lucky accidents."

And "share them," he does. 

With "John Cullum: An Accidental Star," the actor begins and builds his 80-minute showcase with smartly researched, in-depth material that fascinates, beguiles, mystifies and defines his very long theatrical career. Fittingly, he opens the show with "On a Clear Day (You Can See Forever)," a showstopping number from the 1965 Lerner and Lane musical that cast him as psychiatrist and widower Dr. Mark Bruckner opposite Tony Award winner Barbara Harris. Much later, during a segment titled "Bumps in the Road," he tells us that he "couldn't find any humor in the part" even after he auditioned "12 times" for the role and subsequently, didn't get the part until he replaced Louis Jordan, the original leading man when the show had its out of town tryouts at the Colonial Theatre in Boston. "It was a big deal," he recalls. "My first starring role" with only "five days to learn the part" before it reached Broadway.

Smart.
Effective.
Heartfelt.
Clever.
Intriguing.
Classic.

This is one of those shows that could not have come at a better time, and one that makes you long for live theatre again as Cullum stands tall and proud bringing angst and fire to a production that although streamed online, celebrates that one-on-one actor/audience conceit we all know and love with perfect dynamism and engaging indulgence. It's impossible to take your eyes off him for a moment for fear of missing something important or pivotal to the advancement of his thrilling one man show. Then and now, here is a man who loves musical theatre, loves being a performer, loves traveling back to the past where it all began and loves being able to recreate songs and stories that have kept him in the spotlight for more than 60 wonderful years.

Moreover, there's a satisfying grace and intellectual savvy to Cullum's return. And therein, lies its enjoyment. Ingeniously structured through titled chapters - The Early Years, Shakespeare, Changes, A Different Direction - to name a few, this nostalgic postcard respects the actor's roots, his Broadway auditions' balancing act, his joys, his struggles, his frustrations, his declarations, his true-to-life theatrical tales and his chosen oeuvre of lyrics, orchestrations and songs that propel the story forward. He also shares his fondness and appreciation for fellow performers he has worked with including Julie Andrews, Richard Burton, Robert Goulet and Robert Preston. There's even some choice commentary about co-star Madeline Kahn who left "On the Twentieth Century" only two weeks into the run ("Was she fired?" he asks) and was quickly replaced by Judy Kaye.

The musical scrapbook for "John Cullum: An Accidental Star" features a wealth of show tunes that the actor/singer handpicked (oddly, "Molasses to Rum" from "1776" is not featured) for this presentation. They are the title song from "On A Clear Day (You Can See Forever)," "I Wonder What the King Is Doing Tonight" from "Camelot," "On the Street Where You Live" from "My Fair Lady," "There But For You Go I" from "Brigadoon," "I've Got a Girl" from "We Take the Town" ( the show starring Robert Preston folded during out-of-town tryouts), "Come Back to Me" from "On a Clear Day You Can See Forever," the title song from "Camelot," "I Rise Again" from "On the Twentieth Century" and "Don't Be a Bunny" from "Urinetown." Cullum also includes "Meditation," "The Pickers Are Coming," "Papa's Gonna Make It All Right" and "I've Heard It All Before" from "Shenandoah."

Vocally, this is a somewhat different Cullum in terms of style, musicality, impact and performance, but nonetheless, a complement to his enduring longevity. He still knows how to deliver a song with power and command. But, in some cases, some of the lyrics are slightly spoken (think Rex Harrison in "My Fair Lady") while orchestrations are tweaked or revised to adapt to Cullum's existing vocal range. Regardless, it's a task he does with ease and strongness (you can see it in his eyes and his body language), performing with just the right amount of heart and soul to create a musical sound that capitalizes on how personal each vocal moment was and is to him. He's amazing....and then some.

Staging "John Cullum: An Accidental Star," Lonny Price and Matt Cowart supply the production with its necessary vibe, personality and amplitude. Going in, the duo know that the material itself belongs to Cullum and they are there, as orchestrators, to tell his story honestly and naturally, which they do. As Cullum takes the spotlight, both men use simple staging, editing, close ups and reaction shots to propel the story forward via online streaming. This simplicity works especially well, accurately giving the show its atmospheric landscape, its nostalgia, its passion, its pain, its drive and its naturally rooted theatricality.

Working from David Thompson's ingenious play text (the actual concept was conceived by Cullum and Jeff Berger), Price and Cowart keep the action steady through well-placed songs, conversations and memories. References and thoughts unfold with genuine confidence. Words are energized with focused, in-your-face talk and intimacy. The madness and unpredictability of life in the theater is given ample strength and fury. That said, Cullum's enduring legacy never once hits a false note or low point. It plays out with a significant high and potency that commands and demands your attention most agreeably.

"Doing Shakespeare, I chewed the scenery to bits even though there was no scenery to speak of."

"I was the only white actor in ' The Scottsboro Boys.' "

"The title for 'Urinetown' was ridiculous. I thought 'How am I going to do crap like this?' "

" 'Shenandoah,' which I started at the Goodspeed Opera House was right down my alley."

Julie McBride, at the piano, serves as musical director. With Cullum as both storyteller and singer, the challenge, of course, is to make the music he sings fresh and vibrant with just the right dose of humor, pathos and playfulness. Some songs are sung in their entirety, Others are brought to life in bits and pieces, smartly orchestrated by McBride with crisp responsiveness and bite, melodic lyricism and lucid eloquence. It all comes together nicely with Cullum having a perfectly marvelous time traveling up and down the paths of his huge Broadway musical career.

A co-production with Vineyard Theatre, Goodspeed Musicals and the Irish Repertory Theatre, "John Cullum: An Accidental Star" puts the 91-year-old actor center stage - ready to perform - full of joy and gratitude. He laughs. He frowns. He sings. He tells jokes. He engages in splendid wordplay and conversation. He's happy to be back on stage. He packs an emotional wallop with his well-intentioned showcase of old-fashioned entertainment. And finally, he is up close and personal with his sincerity and emotionally honest spunkiness.

A bedazzling, impressive one-man show, "John Cullum: An Accidental Star" is one of those rare theatrical pieces that ignites power, passion, eccentricity and attitude. It also brings Cullum back to the theater for a profound, undeniably personal party that celebrates the man, the music and the cleverness of this iconic Broadway actor, singer and entertainer.  

"John Cullum: An Accidental Star" is being streamed online, now through April 22. To book the production, visit vineyardtheatre. org. Tickets are $55 (includes $5 service charge). For additional information, call (212) 353-0303.