Review: Two Sides To A Marriage Play Out In The Unusual Non Linear THE LAST FIVE YEARS

Thursday 4th April 2019, 6:15pm, Ensemble Theatre

Jason Robert Brown's (Music, Book and Lyrics) THE LAST FIVE YEARS receives a rare Sydney staging at Ensemble, showcasing two talented singers and an incredible pianist. The Drama Desk Award winning play (Best Music and Best Lyrics) is complex in its structure but simple its story with some incredible music.

Stories of failed marriages are not unusual on either dramatic or musical theatre stages, and this one is inspired by Brown's own failed first marriage, but what makes THE LAST FIVE YEARS unique is his choice to split the story and presenting one participant's view in reverse with aspiring musical theatre actress Cathy (Elise McCann) and successful young novelist Jamie (Christian Charisiou) only meeting at what we understand to be their happiest moment together. Director Elsie Edgerton-Till has the two often sharing a stage but they are neither in the same space or time, rather expressing the contrasting emotions of new love and a failing relationship.

Given the work is being presented in repertory with THE APPLETON LADIES' POTATO RACE, Michael Scott-Mitchell's set design has a common basis of two small revolves in a simple black stage. A vintage Danish armchair is the only set element along with a few items of clothing. Musical Director Daryl Wallis is oversees the stage from a baby grand perched to the left of the stage. The simplicity of the staging relies on lighting to set the tone and the focus with bold spots as their love is young, new and holds hope for a bright future but softens as the realities of life creep in. The use of the two turns in tandem capture the chaos of minds and emotions that start to spin, almost out of control and not in sync with each other. As with Genevieve Graham's costume design for THE APPLETON LADIES' POTATO RACE, her design for THE LAST FIVE YEARS is equally simple as the story is of a relatively average contemporary couple with subtle allowances to Cathy's physicality as a dancer as any Broadway hopeful has to be.

The work is presented with a pace that ensures that it doesn't drag too long but holds enough of the quiet moments to let the gravity of actions and emotions sink in and give the audience time to fit the puzzle pieces together. Wallis, as always guides the performance with a measured hand that captures the changing moods of the work with the appropriate subtlety and vigour. He ensures that the piano never overpowers the performers but rather provides the right support throughout. The work covers a range of styles from jazz, classical, musical theatre pastiche and even folk and is characteristically complex as much of Brown's pieces are.

Elise McCann delivers a beautiful performance as Cathy, lending her pure clear voice to the woman finally broken by a marriage to a cheating husband and a career that never quite got to where she hoped. The character is easily more likable and McCann captures Cathy's honest emotion and unguarded devotion, devoid of any ulterior motives. Christian Charisiou is charismatic as a younger Jamie delivering energetic expression of what he wants us to believe is real love. He is hampered in really winning the audience's affection due to the way the character is written and the fact that the opening number, Cathy's Still Hurting already alludes to the fact that it was Jamie's wandering eye and narcissistic focus on his own career that caused their downfall. When paired with Jamie's first piece Shiksa Goddess we get the sense that he was more interested in doing whatever it took to annoy his Jewish parents while she was genuinely in love. Both deliver a wonderful physicality to the work and Daniella Lacob's choreography of Jamie's Moving Too Fast is an inventive use of a simple armchair, utilising Charisiou's flexibility to do anything but sit properly in it.

An intriguing work that requires a bit of deciphering, this is an engaging work as it refuses to lay everything out simply for the audience and is artfully expressed in the intimate space of Ensemble's small thrust stage. Given THE LAST FIVE YEARS and Jason Robert Brown's musicals aren't often performed in Sydney; take this opportunity now to experience his work.

https://www.ensemble.com.au/shows/the-last-five-years/

Photos: Phil Erbacher