8/13/2019 ‘The Last Five Years’ is gracing The Playhouse these week

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‘The Last Five Years’ is gracing The Playhouse these week, offering a fascinating tale of a turbulent

marriage, set over five years, performed by West End singing sensation Peter Corry and local

performer Michelle Forbes.

The revue is written by Jason Robert Brown and is based loosely around his own personal life and

failed marriage. Director Kieran Griffiths took a very interesting approach to the show, coming upwith a concept that made it very original and more believable.

The revue opens with Kathy (Forbes) singing songs starting at the end of the marriage and working

her way back to the beginning, and with Jamie (Corry) starting at the beginning of the relationship

and working his way to the end. The norm for the show would be that the characters never interact

and they are always on separate sides of the stage. However, Kieran took his own spin on the show

and the couple was always together, singing opposing songs. Kieran also added in dialogue that he

had workshopped with the performers and this complimented the songs very well, enhancing the

performance and making it more understandable for audiences.

The show opens with a waltz, played by the condensed orchestra, and Kathy and Jamie dance

together, but never actually touch. This immediately sets the tone of the performance and we can see

the sadness and confusion in Kathy, and the love and infatuation in Jamie; we can tell from the off

that the relationship is not normal.

Staged inside a clock, whenever the time frame changes, the couple turn boxes to illustrate the date.

The first song is a sad number, sung by Kathy called Still Hurting, depicting the breakdown of the

relationship in the present day in 2011. This song is one of Jason Robert Brown’s most popular

numbers, and as the opening number I felt it lacked luster. Forbes seemed in-pain throughout most of

the climax in the song when it was apparent she was meant to be belting. Instead, she sang in her mix

which didn’t do the song the same justice. This lack of technique was highlighted even mor e with the

lack of acting; the over-done cry was too much, and just emphasized the fact that she could not sing

the song.

Corry saved the show with the next number, an upbeat song called Shiska Goddess which is about all

the relationships he has had. The interaction with Forbes worked well here, and Corry delivered the

song extremely well.

The show continued with Peter Corry outshining Michelle Forbes at every stop; in the duet Moving

Too Fast ,

The play is economical in terms of its sets, with only clever lighting and a handful of

props needed to assist in the storytelling. This is one of those instances where

necessity brings out creativity, in a musical well suited to the confines of the

Playhouse.

 As the show proceeds, further emotions are explored and conveyed through singing

and facial expressions. Jazzy numbers like “Moving Too Fast” give Corry a chance toshow off his versatility, to great effect, while Forbes convincingly illustrates Cathy’s

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aloofness during parts of the marriage.

Through his performance, Corry ensures that we see Jamie as a successful author,

but one who comes across as too “in your face” about his success; and Cathy never

feels part of it. She doesn’t buy his “story within a story” at Christmas (“The SchmuelSong”), and it reaches the point where it looks like she’ll have to fight to stop his

career taking over the marriage (“I’m A Part Of That”). It’s at times like these where

Forbes clearly matches Corry with every beat, tearing into her part with new found

dynamism.

Said tension is cleverly relieved at the interval with a wonderful wedding duet (“The

Next Ten Years”) – the very point where the couple’s stories intersect. It’s the best

way to end the first half.

 Already, the audience has learnt much about the characters. We assume that

although both seem spiteful, selfish and not thinking about what each other wants,

it’s clear that they are multifaceted human beings. 

By that point, I assumed there was not much more to learn about Jamie and Cathy,

but boy, was I wrong. The second half delves even deeper into the characters’

foibles. In one moment, Cathy considers how her life has changed for the worst,

while Jamie makes it clear he will not renounce his career for her comfort. In other

words, lose because she can’t win (“If I Didn’t Believe In You”). It invites the

interesting question of whether or not you love somebody enough to put your career

on the line for them. And Griffiths and his performers explore it compellingly.

 And again, because one story is being told alongside one another, the contrast never

lets up, as we soon hear Cathy singing about how accepting she will be of Jamie’s

habits (“I Can Do Better Than That”). Along with the previous number, it’s a great

commentary on the power of love and the decay of a relationship. It all leads to a

quietly moving goodbye duet at the end (“Goodbye Until Tomorrow/I Could Never

Rescue You”) where we learn that not all couples are as compatible as they would

like to think they are.

Once Corry and Forbes bow to rapturous applause, there’s no doubt that thisproduction of “The Last Five Years” has set a new standard for the low-key musicalwith something to say.