The Last Five Years
Reviewed – 5th October 2020
“the relish with which these two outstanding performers reprise their roles is a joy to witness.”
It seems an age ago now but back in March, when the New York Governor ordered Broadway’s theatres to close as the coronavirus pandemic spread through the city, there was still the feeling in London that ‘it won’t happen to us’. But lo and behold, four days later, the Prime Minister’s statement ensured our theatres followed suit. The mass exodus of London’s West End and the fringe left an eerie silence that filled the playhouses, as they started to gather dust. Many, like Southwark Playhouse, remained frozen in time; the empty music stands, props on the stage floor and, lit only by the ghost light; the centre-piece grand piano, silent on the now-motionless revolve. Waiting.
The waiting was longer than we initially thought, but seven months later to the day, and leading the way in the reopening of our theatres, Katy Lipson (in association with Edward Prophet and People Entertainment Group) kicks off where we left off with Jason Robert Brown’s powerful two-hander, “The Last Five Years”. Despite the plexiglass and socially distant seating, as the first notes fill the auditorium it feels like the intervening months never really happened. In tune with the time-twisting concept of the piece the audience are transported back to March of this year into an alternative existence wherein this nightmare may never have happened. The energy of Oli Higginson and Molly Lynch is undimmed and the relish with which these two outstanding performers reprise their roles is a joy to witness. They tell us the story, through song, of two lovers, Jamie and Cathy, as they 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.
It is a clever device that gives us insider knowledge. We know how it is going to end right from the start and are free to concentrate on the journey each character makes. The downside is the inevitable predictability, but the focus is on Brown’s compositions; all beautifully crafted, with a range of styles; yet connected with common threads and leitmotifs. And director Jonathan O’Boyle has introduced a third character to the narrative: the grand piano that takes centre stage, around which Jamie and Cathy circle, powerless against its gravitational pull. Matching Higginson’s and Lynch’s faultless interpretation of the characters is their 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 the two advance and retreat along their own paths. Ironically, that is the show’s one minor flaw. It is easy to forget, when the actors are sometimes only inches apart, that they are years apart in the narrative. 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 this unintentional self-centredness occasionally leaves us cold. It is only when you make a conscious effort to return to the theme that you reconnect.
Yet the performances consistently manage to sweep this slight distraction away with their charisma and talent. Backed by the sheer energy of Musical Director, George Dyer, and the five-piece band, we are spellbound, and our belief in the magic of musical theatre is unquestionably reaffirmed.
Reviewed by Jonathan Evans
Photography by Pamela Raith
The Last Five Years
Southwark Playhouse until 14th November
Previously reviewed at this venue: