“Oli Higginson as Jamie and Molly Lynch as Cathy are both outstanding: in their interpretation of the characters and musicianship”
On the surface, “The Last Five Years” has a kind of ‘Whovian’ concept at its heart, twisting the perspective of time. Two lovers, Jamie and Cathy, travel through five years of their relationship; he is moving forward while she proceeds in reverse. They meet in the middle, fleetingly, on their wedding day. Beneath the surface, though, is a very human story that deals with, not the time-warp perspectives, but the emotional perspectives of the two characters. It’s a device that gives you insider knowledge from the start (or the end) which simultaneously sheds light on the affair, but also pushes our emotional connection to their story into the shadows.
Director Jonathan O’Boyle has introduced a third character to the narrative: the baby grand piano that takes centre stage, around which Jamie and Cathy circle, powerless against its gravitational pull. Writer-composer Jason Robert Brown might have pulled off a neat trick with the dramatic concept, but O’Boyle’s decision to have the pair accompany one another’s songs on piano is inspired, and adds a much-needed dimension to what are essentially monologues in song. Songs which are nevertheless beautifully crafted by Brown, with a range of styles yet connected with common threads and leitmotifs.
Oli Higginson as Jamie and Molly Lynch as Cathy are both outstanding: in their interpretation of the characters and musicianship; using the piano as an emotional relay, often passing the baton between the bars of a tune. The opening “Still Hurting” shows off Lynch’s soaring and searing vocals in a heart-wrenching moment of resigned pain, while Higginson’s optimistic belt of “Moving Too Fast” encapsulates Jamie’s joyful optimism. Ninety minutes later Higginson beautifully mourns the ending of their story in “Nobody Needs to Know” while Lynch has usurped his dreams for the buoyant “I Can Do Better Than That”. In between, the pitch shifts are perfect as they advance and retreat along their own paths.
Which is the crux. Despite their onstage physical proximity, there is a detachment that leaves us slightly cold, which is entirely caused by the concept of the piece. It is quite easy to forget the characters are occupying different spaces and times, so it often feels that we are merely witnessing a couple who just aren’t suited to each other at all. He’s looking forward, she’s looking back, and their self-centredness strips us of sympathy. It is only when you make a conscious effort to return to the theme that you reconnect.
But the performers consistently manage to sweep this minor distraction away with the vivid brush strokes of their charisma and talent. Backed by the sheer energy of Musical Director, George Dyer, and the five-piece band, the music has us spellbound; even when the emotional magic doesn’t quite strike a chord.
“Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.”
Often described as the sequel to ‘Fiddler On the Roof’, ‘Rags’, originally written by Joseph Stein (who did also write ‘Fiddler’) enjoyed only four days on Broadway in its 1987 debut. Regardless, it was nominated for five Tony awards that year. But, more baffling still, it has never been brought back to the stage, that is, until now.
Revised by David Thompson and directed by Bronagh Lagan, ‘Rags’ tells the story of Jewish immigrants making their way to America at the turn of the twentieth century. Among the boatloads of hopefuls is Rebecca (Carolyn Maitland), with her son David (as played by Jude Muir for this performance), who, without any family or a nickel to her name, is determined to succeed in this new promised land.
As with most sequels, ‘Rags’ has loosely the same narrative arc as its predecessor: A community of traditional Jews fights off the outside world on multiple fronts, be it via assimilation, persecution or modernisation. Certain familiar characters re-appear as well. Ben (Oisin Nolan-Power) for example, a nice but nerdy tailor seeks the affections of Bella (Martha Kirby) whose father, Avram (Dave Willetts) disapproves of the union. I mean, why not just call them Motel and Tzeitel and have done with it.
But ‘Rags’ does depart from ‘Fiddler’ in its sheer volume of historical content, including everything from the 1909 Shirtwaist strikes and the Triangle Shirtwaist Factory fire to the emergence of feminism, the rising popularity of Yiddish theatre and song writing, and culture clashes, not only between different ethnicities and religions, but also first and second-wave immigrants. In order to include all of this, every character symbolises a school of thought, be it capitalism or communism, traditionalism or modernisation. And this leaves little room for any of the characters to have any, well, character. The older generation – aunt, uncle and father – bring a little Yiddish flavour from the old country, but aside from that everyone is a bit bland.
The soundtrack (Charles Strouse/Stephen Schwartz) flits between a klezmer-ragtime fusion, and modern musical numbers. The former is accompanied by a swaggering Klezmer band wondering the stage, playing various bit-parts as they go. The small ensemble brings a tonne of humour and spirit to the production. Clarinettist Natasha Karp is a particular joy to watch, her constant facial expressions a kind of running commentary on the story’s goings-on.
The more modern numbers, however, are generally forgettable and feel mismatched with the themes of the plot.
The set (Gregor Donnelly), consisting of a wall of suitcases, and sparse furniture, provides an atmosphere of transition; of both hope and hardship. Whilst Rebecca, Bella and David have just arrived, the small apartment has been the home of multiple immigrant families before this one, and will no doubt go on to house many more after, and the set succeeds in keeping this feeling of flux throughout.
The cast themselves are gloriously talented, doing their best to inject colour and excitement to a story that drags on at least a half hour too long. Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.
But whilst ‘Rags’ was not intended as a direct sequel for ‘Fiddler’, it’s hard not to consider it as such and, as is often the case with sequels, it doesn’t stand up to comparison. Yes, there are a couple of catchy numbers, a couple of funny scenes, and a couple of moments of heartfelt reflection. But not enough on any count, and unfortunately this revival is less a story of rags to riches, and more rags to run-of-the-mill.