Lucy Morris
The Last Five Years is back and better than ever
Jason Robert-Brown’s famous two-hander, The Last Five Years, returns to London after a successful period at the Southwark Playhouse last year, this time to the Garrick Theatre. But is Jonathan O’Boyle’s production of this musical masterpiece as intimate and irresistible as it’s predecessors?
The story follows Jamie and Cathy on the journey of their inauspicious relationship, both fighting battles the other can’t support. Hopeless Cathy struggles to get her big acting break in New York whilst desirable Jamie finds his feet in the literary world, making his path as a high-flying author much to the resentment of his dejected wife. The couple each tell their own version of the story, with Cathy recounting events in reverse and Jamie narrating forwards, only once meeting in the middle at the cross-over of their journey.
Whilst many other productions allow the interaction of performers, O’Boyle does not, and from the outset he dresses the stage with distance and coldness, depicting the sour loss of harmony and love between the leads. The clever use of piano in the centre of the revolve on stage allows the two to accompany one another in their storytelling as if they were a part of it when in reality, they couldn’t be further away. Each performs their numbers to an empty stage, the other unreactive to their emotion, letting the audience in on a personal retelling of a difficult period and tainted memories.
Molly Lynch (Sunset Boulevard) is the Cathy to Oli Higginson’s (Maggie & Ted) Jamie, and they complement each other beautifully. Lynch’s portrayal of the bubbly yet disparaged partner is stellar. Aside from delivering a note-perfect performance, Cathy’s emotional turmoil is provided by Lynch from the outset, particularly notable in See I’m Smiling, where she sings of Jamie’s selfishness and insufferable ego. Higginson’s determined but over-eager Jamie is quite exceptional, making it clear to see why he was nominated for an Offie during the Southwark Playhouse run. His warm vocals and passionate performance bring to life a charismatic charmer who is drowning in attention, struggling to stay in control. The two handle the subjects of adultery, jealousy and disappointment with such realism, it makes you wonder whether you are watching a performance at all.
The show includes little set and costume change with the focus entirely on the story and actors, immersing you completely into someone else’s history. The meticulousness of O’Boyle’s direction is apparent throughout and is only enhanced by the piles of talent that he had to work with in Lynch and Higginson. Only running until the 17th of October, you NEED to sprint to see this masterpiece.
Words by Lucy Morris.
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