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
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