The Last Five Years
Reviewed – 5th March 2020
“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.
Reviewed by Jonathan Evans
Photography by Pamela Raith
The Last Five Years
Southwark Playhouse until 28th March
Last ten shows reviewed at this venue:
Afterglow | ★★★½ | June 2019
Fiver | ★★★★ | July 2019
Dogfight | ★★★★ | August 2019
Once On This Island | ★★★ | August 2019
Preludes | ★★★★ | September 2019
Islander | ★★★★★ | October 2019
Superstar | ★★★★ | November 2019
Potted Panto | ★★★★ | December 2019
Cops | ★★★ | January 2020
You Stupid Darkness! | ★★★ | January 2020
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