The Last Five Years

Always a brave thing to do for amateur groups to take on a two hander, it is sometimes attempted as a play particularly in one act play festivals, but to do a full on musical, is almost unheard of and shows either a streak of foolhardiness or extreme confidence!  Add to that the basic synopsis is a little worrying – one story running forward whilst the other runs backwards again doesn’t seem to be for the faint hearted.  Add a further concern; I knew nothing about the story.  So it was with both curiosity and little apprehension we took to our seats.  I’m pleased to say - I need not have worried!

It is a one act nonstop musical of 85 minutes without an interval and what a body of work it is too!

The story, based on the playwright’s own marriage explores a five-year relationship between Jamie Wellerstein, a rising novelist, and Cathy Hiatt, a struggling actress. The show uses a form of storytelling in which Cathy's story is told in reverse chronological order (beginning the show at the end of the marriage), and Jamie's is told in chronological order (starting just after the couple have first met). The characters do not directly interact except for a wedding song in the middle as their timelines intersect.

The set designed by Steve Ward, and built by Steve and Mark Burnapp was, and needed to be, simplicity itself with a couple of folding reversible flats to depict the inside of their apartment and the various outside scenes. The rest of the set being a series of simple props and furniture (and some odd white flowerpots which remained at the back of the set throughout, which I didn’t quite get?), the action often being played on opposite sides of the stage whilst the characters simultaneously acted out totally unconnected scenes.

Sound and light by Simon Barker and the students of Bedford College was of their usual high standard and I didn’t think about either during the performance, a sure sign they had done a very competent job. Sound was crystal clear and all scenes were well lit, bang on cue.

The 5-piece band under the direction of Peter Davies had one heck of a job to do as some of the music was incredibly intricate and very complex, but what a job they did. The keyboard player (uncredited) was particularly hard worked with a required concentration level to match. As he put to me afterwards, ‘I have no idea what Jason Robert Brown has against keyboard players!’ This was a very tight outfit of the highest order.

I said earlier I was in some apprehension on arrival as to the likely outcome, that’s is until I read who was the actress taking the part of Cathy. Having seen Leanne Lyndsey White on the Marianettes stage before I knew I could sit back and relax. This was going to be in very competent hands indeed! And of course, she did not disappoint. The songs in this show with one or two possible exceptions are all story based and require considerable skill to put them across. Putting the required emotion both in expression musically and facially is some skill. Leanne Lyndsey White has it in spades. Her acting for example during the rendition of ‘I can do Better than that’ was a master class in how to put a song across. With the prop of just two car front seats and steering wheel she sprawled, sat, laid down, stood up and adopted every possible position you can use inside the confined space of a car whilst all the time, showing every emotion required of the lyrics.  Almost worthy of a top draw pop video. If I had to make a small critique some of the notes in the higher pitched numbers did come out a little bit sharp; her voice is a wonderful and powerful tool and sometimes less is more; however, nothing that spoilt the show in any way. Why she is not adorning some West End stage is a mystery to me.

Frazer McDonald was no slouch on this stage either. He had the full range in his armoury, good voice, with a more understated style of acting which worked very well in contrast to Leanne’s more emotional character. The way he showed the various degrees of chemistry between them was particularly well done, from the closeness of the first meeting and living together to the total rejection and his affair with another woman. I also was very impressed by his facial expressions during Leanne’s rendition of ‘I Can Do Better Than that,’ it showed a man content and enjoying the relationship, laid back and in love at the same time which completed the tableau perfectly, and all without saying a single word.  Only a man could have done that! (comment added by my other half!)

Well done to Tara Hutchings for playing the non-speaking ‘other woman,’ whose appearance is either cause or effect of the breakdown of the relationship between Jamie and Cathy. I think more effect than cause, as the main problem in the relationship was, whilst his career took off hers stagnated. But of course, relationships are more complex than that and the bewilderment as to why was something both participants put across equally well.

This is obviously the age of new directors as I have seen two shows this week by debutants and both have impressed. Clare Rowsell-Smith has certainly arrived with a message to tell and knows what she is all about and what she wants. Good job, well executed.

Thank you for a splendid piece of theatre, it was a real treat, performed and crewed by a very professional outfit. Such a shame it was only appreciated by a smallish audience, but that’s the perennial problem we all face with live theatre today. Bedford, you don’t know what you missed!

My apologies to chairman and co-producer, Vijay Puri-Whitmore for giving him a heart attack over the mix-up about which night we were attending! We very much look forward to Made in Dagenham in March.

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