{"id":11478,"date":"2020-03-05T16:30:53","date_gmt":"2020-03-05T16:30:53","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11478"},"modified":"2021-11-09T21:53:09","modified_gmt":"2021-11-09T21:53:09","slug":"an-inspired-production-of-the-last-five-years-at-southwark-playhouse","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/03\/05\/an-inspired-production-of-the-last-five-years-at-southwark-playhouse\/","title":{"rendered":"An Inspired Production of The Last Five Years at Southwark Playhouse"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today\u2019s show is the amazing The Last Five Years by Jason Robert Brown, which officially opened last night<\/em>.<\/p>\n\n\n

Whether you are new to The Last Five Years <\/em>(what, how but welcome!) or know it better than you know your phone number (me)(UK numbers are hard), the new, dazzling production of this beloved work is a necessary treat for musical lovers, theatre lovers, and even regular lovers who feel like being depressed but like in a beautiful way. A song-cycle of a show, Jason Robert Brown\u2019s The Last Five Years<\/em> shares the love story a divorcing couple, but the two characters famously share their stories in opposite directions: Jamie goes in chronological order, starting at the beginning of their courtship and ending at their divorce, while Cathy goes backwards, starting after their relationship has fallen apart and ending after their first date. IT IS HEAVY, YES, but it\u2019s some of the best music in modern musical theatre, and this unique, inspired production does a commendable job.<\/p>\n

There are a few (maybe like 50) musicals I feel very protective about because of how much I love them. The Last Five Years<\/em> is one of them. I remember all of us in the plays in high school listening to the original off-Broadway album with Sherie Rene Scott and Norbert Leo Butz (only people with three names were allowed to be involved originally) and being completely obsessed. So, I\u2019m even more critical than usual about this show because it\u2019s impossible not to compare to the originals, and no one can compete with them. And because the score is so g-d beautiful and emotionally raw and funny and moving and amazing (though it\u2019s always a tad uncomfortable to remember that this show is fairly autobiographical) so I\u2019m always like DON\u2019T FUCK IT UP OR I WILL FUCK YOU UP. But the Southwark\u2019s production, with fairly flawless direction from Jonathan O\u2019Boyle, doesn\u2019t try to compete through sheer vocal ability in the usual stand-and-plant manner of running this show. Instead, they\u2019ve created a distinctive version that keeps both actors onstage most of the time, and \u2013 spectacularly \u2013 makes them each other\u2019s accompanist.<\/p>\n

That\u2019s right, Cathy (Molly Lynch) plays the piano for all of Jamie\u2019s (Oli Higginson) (literally just realized their names rhyme) songs, and vice versa, adding the nuance of an extra layer of responsibility for what the other experienced (along with extra chances at seriously impressing us with their talents). It\u2019s an exceptional move, making for a more vibrant and energetic version than usual, for a show that doesn\u2019t usually have the characters interact until the wedding crossover point. While it would be impossible to get performers who are superb singers, actors, and<\/em> pianists, especially for a small production like this, Lynch and Higginson (who I often thought was Matt Doyle undercover) are often great. They shine brightest as pianists, but they are more than serviceable singers. Lynch excels during Cathy\u2019s faster numbers, when she can show off her humor, like in \u201cA Summer in Ohio\u201d, staged cleverly with her playing the ukulele to Jamie over a video call. Higginson\u2019s slower songs (the more depressing ones I guess) gave him the breath for stronger belting so he sounded best in the second half. They\u2019re both probably working harder than anyone on a London stage right now, and it\u2019s a joy to watch.<\/p>\n

In addition to the novel accompaniment, this production\u2019s use of props was interesting. The actors were always doing something active with their books or picture frames or, my favorite part, the subtle and genius use of the gift box for Cathy\u2019s watch in \u201cThe Schmuel Song\u201d (very Jeannette Bayardelle in Shida<\/em><\/span><\/a>), which could end up distracting but I thought always added to the scene positively. There were also lyric changes that I think were in the last production I saw but always surprise me but then I\u2019m like oh no it\u2019s okay (changes include \u201cRussell Crowe\u201d replacing \u201cLinda Blair\u201d which is meh, and \u201cwho you could say looked like Tom Cruise\u201d replaced with \u201cwith some very well placed tattoos\u201d which I\u2019m fine with). All I know is if anyone ever changes the Sonny Mehta line I will stand up and walk out (RIP).<\/p>\n

It’s not a perfect production \u2013 I actively disliked how long the pause in The Schmuel Song during \u2018limbovitch\u2019 was (I prefer no pause! it\u2019s funnier!) (also, speaking of, this song features \u2018funny\u2019 use of a prayer shawl, which reminded me that I don\u2019t know if any Jews are involved and Jamie is a verrrry Jewish role so like yeesh I hope because ahh). And, as I\u2019ve increasingly seen in young performers, there was a bit too much swallowing of lyrics and speaking lyrics instead of acting emphasis out through song. In the second half, I thought Cathy reacted too much in real time to Jamie\u2019s songs, confusing the opposite timelines (I don\u2019t think people unfamiliar with the concept would have any idea that she was at the beginning of their relationship for a good 20-minute chunk, until her \u201cI Can Do Better Than That\u201d). And while I can\u2019t pinpoint why, this is the first production I\u2019ve ever seen that didn\u2019t make me cry the entire time, with extra heaving during the wedding scene and the end. I just didn\u2019t feel the emotional pull I usually do, which might be due to the prioritizing of the performers\u2019 musical skills over their acting skills. However, for this production, I enjoyed the change of pace that that prioritizing created.<\/p>\n\n\n

<\/p>\n\n\n\n

INFORMATION<\/span><\/strong><\/p>\n\n\n\n

The Last Five Years <\/em>plays\nat the Southwark Playhouse until March 28.<\/p>\n\n\n\n

The show is about 90 minutes straight through. My\nperformance ended about 9:15pm\nbecause it started about 15 minutes late but that\u2019s okayyyy things happennnn I\ndidn\u2019t get a utiiiii (or did I). The setup this go round (the Southwark changes\nlayout for each show) has the audience on three sides and the only door blocked\nby the stage area so leaving is difficult at the end. If you need to make a\nfast exit your only real option is A1-10, the front row of the section by the\ndoor (because it\u2019s stadium-style seating with barricades, the first seat of the\nother rows don\u2019t count as aisles for me unless you are willing to jump through\nthe railings) (which I am but I don\u2019t know your life).<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is the amazing The Last Five Years by Jason Robert Brown, which officially opened last night. 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