By James V. Ruocco
In "The Last Five Years," Jason Robert Brown's exhilarating romantic musical about the passionate and conflicted relationship of Cathy Hyatt and Jamie Wellerstein, the actual story and its music are positioned and lensed through two very different time perspectives. Cathy's story is purposely told in reverse beginning at the end of their marriage. Jamie's reenactment is portrayed in chronological order. Only intermittently in the middle of their respective timelines, do they reunite and interact. (their wedding, for example).
This creative concept, impressively staged with bracing energy, directness and harmony, pinpoints the couple's success, disappointments, tensions, viewpoints, breakdowns and career choices with collective analysis, pulse and seamless navigation. It's all pretty much easy to follow and understand (Cathy wants to an actress, but is plagued by weight problems, insecurity, rejections and audition mishaps); Jamie is an aspiring, self -obsessed novelist waiting for his big break) and happily, nothing gets lost in the musical's translation.
But just is case you're confused, all of this is explained in a completely witty voice over - told backwards and forwards by Keely Baisden Knudsen - as the houselights dim. It's a delightful piece of whimsy that sets the mood for what's to follow. And yes, it produces chuckles (that's the point) by both novice and experienced theatergoers and members of the press.
So, let's get to the point.
In a debut season that has included Neil Simon's "Barefoot in the Park" and "Oedipus Rex" by Sophocles, "The Last Five Years" is the fourth production of Legacy Theatre's inspirational five-play rota. It will be followed this December by Charles Dickens' "A Christmas Carol."
Engaging.
Truthful.
Reactionary.
Emotional.
Innovative.
Romantic.
The production - fast, fluid and to-the-point - is a time-tripping collage of life and memory that recalls the well-versed reverse narrative of Stephen Sondheim's 1981 musical "Merrily We Roll Along" and at times, - depending on the song or situation - the angst and irony of Jonathan Larson's 1996 Broadway musical "Rent." It also dances to its own decidedly organic musical beat with plenty of dramatic spine, identity, edge and complexity.
"The Last Five Years" comes gift wrapped with 16 individual musical numbers sung by Cathy and Jamie. They are: "Still Hurting," "Shiksa Goddess," "See I'm Smiling," "Moving Too Fast," "A Party of That," "The Schmuel Song," "A Summer in Ohio," "The Next Ten Minutes," "A Miracle Would Happen/When You Come Home to Me," "Climbing Uphill," "If I Didn't Believe You," "I Can Do Better Than That," "Nobody Needs to Know," "Goodbye Until Tomorrow/I Could Never Rescue You." The song cycle, balanced perfectly with aesthetically pleasing and strong storytelling moments is rife with intricate, diverse musical styles, ranging from pop, jazz, folk and classical to blues, rock, klezmer and Latino. Its contrasting blocks of musicality are bold, lyrical, rasping and structurally dynamic.
Setting the musical in motion is Tony Award-winning composer/lyricist Jason Robert Brown whose theatrical credits include "The Bridges of Madison County," "Songs for a New World," "Parade," "13" and "Honeymoon in Vegas." Here, his definitive use of very different rhythms, styles, patterns and musical elements gives the the unfolding romance of "The Last Five Years" a confident freshness and slickness which complements its aesthetic evolution. The positioning of the show's songs within the framework of the 90-minute musical is a win-win situation that Brown realizes with depth and purpose as Cathy and Jamie's personal love story shifts seamlessly backwards and forward in time, showcasing the point-of-view moments in both their lives.
As "The Last Five Years" evolves, Brown pulls no punches. He knows exactly what he wants and he runs with it. There is no hesitation, guesswork or compositional awkwardness. What you see and hear onstage is all very alluring, flowing and marvelously cinematic. Here, as in "Parade" and "The Bridges of Madison County," the songs themselves reflect Brown's formidable cheekiness, his deft lyrical phrasing, his inspired orchestral flourishes, his percolating clarity and his collective, well-positioned swells. It's all very original stuff with moments that remind one of the already mentioned Jonathan Larson ("Rent," "Tick, Tick...Boom!") and Stephen Sondheim ("Company," "Merrily We Roll Along," "Evening Primrose").
At Legacy Theatre, "The Last Five Years" is being staged by Keely Baisden Knudsen (Artistic Director and Co-Founder), a passionate theatre auteur who recently directed the exhilarating and edgy "Oedipus Rex" at the Branford-based venue. Here, she moves from Greek tragedy to romantic musical conflict using a simplistic and casual mindset fueled by savvy, detailed and direct staging techniques that gives her reenactment definitive control, connection and inspiration.
Asking her two-member cast to move casually about the indoor and outdoor setting (handsomely designed by Jamie Burnett who also doubles as lighting designer), she keeps the musical grounded and positioned most comfortably with both performers completely lost in the moment of their two different stories, a directorial choice that vividly reflects the original conceit and backbone of the show's creator.
Better yet, there is no shortage of emotion or truth as the story pinpoints the dichotomy of courtship, sexual attraction, marriage and divorce under Knudsen's watchful eye. The tone, the style and the mood of the piece are assessed with natural intention and thematic thrust, offset by a shared experience of individuality and expression that moves the ongoing action toward its justifiable conclusion.
Expression - free and easy - is key to musical director Matthew Harrison's elemental treatment of Brown's musical score for "The Last Five Years." Song by song and scene by scene, Harrison is front and center giving the production a strong sense of purpose and musicality that never falters for a second. Throughout the musical, he brings a remarkably layered emergence and ambition to the material with nary a hiccup, a pause, a hesitation or a misstep. More importantly, no two scenes are alike.
As the musical evolves, Harrison is perfectly at home with Brown's musical showpiece, displaying clarity, delicacy and passion as both Cathy and Jamie step forth to tell their sides of their intertwined story. Keen attention is paid to the different shifts of the musical's songbook, its varied nuance and colors, its documented bite and irony and its quirky humor and openness. From start to finish, it's delivered with a contagious energy and clearness that is both immediate and immersive.
"The Last Five Years" stars Tess Adams as Cathy and Emmett Cassidy as Jamie. As Cathy, Adams delivers a fresh, vibrant and spunky portrait of a twenty-something woman forced to cope with the break-up of her five year relationship with Jamie and the growing discontent and unhappiness of an acting career that is going absolutely nowhere. Through song, she acquires a voice and position that is exactly right for her character. Vocally, she knows how to sell a song using a pleasant-sounding spirit, directness and playful abandon all carefully regulated under Harrison's tutelage. Jamie, as portrayed by Cassidy, is obsessed, cocky, egotistical and quite the charming and seductive charmer. It's a powerful performance that allows the actor/singer to connect wholeheartedly with Brown's varied musical styles and musical numbers. Both he and Adams are completely likeable in their respective roles - a must in order for the material to resonate with the audience. They also share an obvious love and compassion for their roles that brings a certain honesty and freshness to the production.
"The Last Five Years" is one of those rare, eclectic musicals that is timeless, poignant and simplistic. Its portrayal of the rocky relationship between a man and a woman fighting to save their once-happy marriage comes gift wrapped with music and lyrics that are catchy, upbeat and remarkably profound.
The performances are smartly conceived and realized under Knudsen's purposeful, full-bodied direction. And Harrison's exhilarating musical direction gives it a life-enhancing truthfulness that allows one to be swept away by it all when Cathy and Jamie's story finally comes to an end.
(Photos of "The Last Five Years" by Jamie Burnett)
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