The Last Five Years
Reviewed by Vanessa Cate
After Hours Theatre Company
Through July 14
Jason Robert Brown’s 2001 The Last Five Years is a musical lamentation of a failed relationship. Inspired by Brown’s own failed marriage, the two characters play a melodic tennis match, passing solo pieces back and forth, expressing how each feels in their own reality, without ever really seeing eye-to-eye, and rarely sharing the stage.
This is a challenge. The plot is elegant in its simplicity, but it can also be tedious in it.
Jamie (Scott Porter) is a writer, Cathy (Janel Parrish) an actress. They fall for each other, things move fast, they move in together, and ultimately get married. However, that doesn’t mean there is a “happily ever after.” Their marriage actually falls in the middle of the narrative — and it is the only time the two characters are shown in the same place at the same time.
For the rest of the play, the characters are on such a separate page, even their timeline is different. Cathy recounts events starting with their breakup and working their way back, and Jamie starts at what we would consider the beginning.
It is an interesting conceit, but a confusing one to watch and make sense of in real time. Brown’s music hearkens back to the time, reminiscent of an Ally McBeal score, in that it is nostalgic, even pretty, but the lyrics veer between poignant and plain. Since the show is essentially comprised of musical monologues, it is easy to tune out during moments of exposition; there isn’t a lot, it’s mostly general emotion. And if you’re not familiar with the musical beforehand, no one could blame you for the misapprehension that the show is linear for quite some time.
The burden of overcoming this challenge falls on the director. Here, Kari Hayter makes fine use of the space — a chic theatre in the round designed by Efren Delgadillo Jr. — but the characters and the world are not fully realized, so the audience has to do too much work to put the pieces together.
An additional challenge is that the characters are so utterly self-involved. It is hard to feel invested in them, or in their relationship. Through song, we hear about their general desires and their petty complaints, but we never see them grapple with what the other might want (a key part of any healthy relationship), we don’t really see them compromise or grow. What are we really lamenting?
Parrish and Porter both have beautiful singing voices. Parrish shows some personality and charisma, especially in the songs where she is irritated. Porter’s portrayal of Jaime is rather one-note, without much emoting for the better part of the show (Max Wagner showed more character during his guitar solo). It is particularly hard to feel sympathy for him, and the show would best succeed when both characters’ viewpoints are conveyed clearly and empathetically to the audience.
Still, the music is beautiful to listen to. Jennifer Lin’s musical direction is sharp, and the live strings are a delight. Design elements are strong all around (Andrew Schmedake’s calling card was definitely visible in the lighting design), which is part of After Hours Theatre Company’s strength as a growing group.
The other great strength of the company is its ambition. An attempt to turn a run-of-the-mill musical into what is advertised as a “multi-sensory experience” is exciting. Unfortunately, The Last Five Years doesn’t lend itself to immersive or interactive elements as easily as One Flew Over the Cuckoo’s Nest. The pre-show offers five stations (for the five senses, sort of), where you can interact with different simple activities: listening to a recorded conversation, smelling and touching sentimental objects, etc. During the show itself, scent is subtly wafted into the space at choice moments. It is so subtle it is barely noticeable, and it is hard to make the case for its artistic impact. Last, Spirit Guides Cocktail Design has crafted four show-specific alcoholic beverages, which are brought to the VIP seats at specific times throughout the show. The libations were more than just tickets to inebriation — the drink served during “The Schmuel Song,” for example, transported one to the winter holiday season incredibly effectively.
Overall, After Hours Theatre Company has proven once again to be hungry to challenge itself. Even in the production’s weaker points, exacerbated by a problematic script, it is never painful to watch, and it is always beautiful to listen to.
The Actors Company – The Other Space, 916 N. Formosa Ave., West Hollywood; Thurs.-Sat., 8 p.m.; Sun., 7 p.m. (no performance Jul. 4); through Jul. 14. www.afterhours15y.eventbrite.com. Running time: 90 minutes, no intermission.
