The Last Five Years

The Last Five Years - how passion, ambition, youthful egos and petty jealousies can destroy what could have been a strong and happy marriage.

This show has been inspired by the failed first marriage of its composer, Jason Robert Brown and this semi-autobiographical song cycle subsequently presents a wonderful opportunity for two talented singer/actors to create characters which live through the songs and guide the audience through what could easily be a confusing show.

This is a one act, two actor show telling of the rise and fall of a relationship – an aspiring actress and a budding novelist. But there's no need for a spoiler alert as the show is formally adventurous in structure as it tells their stories from the point of each character travelling in opposite directions.

The bold staging by director, Richard Ross banishes any fear of confusion as frequent lighting and costume changes steer the audience through the contradictory time-line with his two leads sharing the stage for the duration, being an unspoken presence during one another’s songs, giving the other someone to react against, although the two only meet when the time sequences overlap with their marriage, and it’s after this moment when the show begins to get interesting.  

Ian Bennett and Aimee Horwich create two believable individuals which provoke sympathy and frustration. At times you want to bang their heads together – which in one respect is good, as a sign that you’re immersed with the show - but at the same time I found myself wanting the show to be more than just finding out how and why the two broke up, asking myself “am I really that interested…?”  

Again, more praise to the direction and specifically the staging with a static set of various locations which impressively doesn’t overcrowd the small space. The action moved swiftly through the years and from location to location with visual symbolism to aid the could-be-confusing storyline to unravel and simultaneously piece together. I did find myself fighting to not latch on too heavily to one side of the story, making the effort to give each side an equal hearing, almost like a jury to the tale.

Being staged with the audience sat on two sides is most favourable for this venue and lends itself well to this piece being as intimate as it is.  

The show runs at approximately ninety minutes, which is short for a musical but still felt about forty minutes longer than you need to hear two sides of this same story. I would happily listen to Aimee sing the phone book and Ian’s impressive vocals are always a pleasure, but this show, albeit entirely sung through cannot rely on impressive vocals alone. This piece requires its songs to be approached as monologues and thankfully both players understood this and performed their emotions with sincerity and zeal, too.

Just looking at the raw material of this show, it doesn’t really grab or sustain my interest but I fully appreciate that that’s highly likely down to personal taste, the piece certainly feels as though it’s been written from the heart and this performance certainly gave justice to that which remains highly commendable.

A terrific onstage six-piece orchestra led by musical director Simon Murray on keyboard offers more hauntingly sure support in the yearning strings of violin, two cellos, guitar and bass carrying the non-stop score with expert delivery. A little too loud to hear the lyrics at times but remaining fair to them, and the sound technician, I imagine this venue is rather tricky to balance the sound. I have no doubt that each seat in this venue would pose an entirely different sound experience too, making the task to give everyone equal sound quality even more of a challenge which you’d probably never get right to please everyone in this space.

Now I’ve seen it live, maybe I need to give it another go. I’ve been warned to steer clear of the film but still, I’ve not shut the door on this show just yet. I wasn’t a fan of ‘Rent’ when it first hit Broadway – you know, when you couldn’t go to any choir recital or college musical theatre revue and not get a rendition of ‘Seasons of Love’, but I later fell in love with that show so, maybe…? We’ll see.       

All Saints Musical Productions have presented a slice of contemporary musical theatre aimed at appealing to new audiences as well as offering something a little more experimental to its regulars and, as ever, ensure high quality is displayed.

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