The Last Five Years – Southwark Playhouse

Picture: Pamela Raith Photography

The Last Five Years continues at Southwark Playhouse, London until 14 November 2020.

Star rating: five stars ★ ★ ★ ★ ★

When a relationship goes sour and a couple decide to go their separate ways, they might use the excuse of not being in the same place as that partner. Composer Jason Robert Brown runs with this concept in The Last Five Years.

The story explores the relationship between Cathy and Jamie by telling her story in reverse against his, which is told going forward from their first date. While the structure smacks of something akin to a sixth-form musical writing project, it’s probably best to engage with the piece as a song cycle. The couple might meet in the middle for a wedding duet but the topsy-turvy narrative is best ignored to focus on Brown’s richly textured score and heartfelt songs on love and loss.

There have been several productions in the UK since its Chicago debut in 2001, notably at the Menier in 2006 staring Damian Humbley and Lara Pulver. In 2014 a movie version was released staring Anna Kendrick and Jeremy Jordan and cinematic techniques helped solve some of the narrative issues the show presents. This current production produced by Aria Entertainment originally opened at the beginning of the year and closed abruptly, along with all other theatres, due to the Coronavirus. It is indeed a blessing that the Southwark Playhouse has decided to reopen with this show as it’s as near perfect as The Last Five Years could possibly be.

Director Jonathan O’Boyle has addressed the issues surrounding the confusing narrative by keeping both actors on stage throughout, as if performing some kind of soulful cabaret (choreography by Sam Spencer-Lane). The centrepiece is a grand piano and they each take turns to play, lightly supplementing musical director George Dyer’s exquisite string heavy orchestra.

The couple still barely interact with each other directly beyond the wedding song, but O’Boyle ensures that there’s a solid connection throughout. The interplay and interpretation of each song is given so much more depth with this technique and there’s an added sense of urgency thanks to the sensitive use of a revolve . It’s worth noting that Lee Newby’s chic set design only adds to the sophistication of this outstanding production.

If O’Boyle’s concept and direction bring this show to a whole other level, then the performances from Molly Lynch and Oli Higginson are the icing on the cake. It’s a dynamic pairing physically and vocally. From the opening number ‘Still Hurting’ Lynch pitches Cathy as broken and bewildered. The pain of the break-up is palpable and Lynch’s emotive delivery sets the tone for the rest of the show.

Of course, we are meeting Jamie at the beginning of the relationship and his lively opener ‘Shiksa Goddess’ is bursting with optimism. Higginson’s Jamie is an excited puppy, thrilled at meeting Cathy but also excited as his career as a writer is beginning to take off. Higginson and Lynch have a wonderful vocal range, tackling Brown’s mix of musical styles from pop to folk. But they also showcase a breathtaking emotional range, meticulously detailing the journey of Jamie and Cathy’s relationship.

The press night of this production had an air of trepidation, common with every venue opening in what might be theatre’s Brave New World. What this show provides is a reminder of what great theatre can be and what it can do. If he hasn’t already, Brown should get over to the UK as soon as possible and catch O’Boyle’s superlative production.

Paul Vale