Importance Score: 22 / 100 🔵
Theater review
THE LAST FIVE YEARS
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90 minutes, no intermission. At the Hudson Theatre, 141 West 44th Street.
In this theater review, Jason Robert Brown’s musical, “The Last Five Years,” a somber narrative of a failed marriage, debuts on Broadway at the Hudson Theatre, starring Nick Jonas and Adrienne Warren. However, this production is immediately labeled as an unsatisfying theatrical experience.
Musical’s Premise and Popularity
While composer Jason Robert Brown’s two-decade-old pop-rock compositions such as “I Can Do Better Than That” and “Moving Too Fast” are celebrated by many, and the emotionally charged songs are frequently performed in cabarets, their integration into a full narrative reveals significant weaknesses.
When combined to chronicle the disheartening story of Jamie and Cathy, a couple who remain largely disconnected on stage while delivering their grievances through song, the result is a tedious and uninspired show. Despite its brevity, clocking in at just 90 minutes, “The Last Five Years” feels protracted, leaving the audience feeling as if time has slowed to a crawl.
Woeful Miscasting and Minimalist Direction
This production exacerbates the musical’s inherent flaws with conspicuously miscast lead performers, Nick Jonas and Adrienne Warren, and understated direction by Whitney White. The cumulative effect culminated in what premiered Sunday evening at the Hudson Theatre as a theatrical misstep – among the least compelling musical productions of the current season. In fact, it is notably subpar.
A Textureless and Confusing Narrative
This uninspired revival, mounted for a work arguably unfit for the Broadway stage, transforms the couple’s already monotonous journey into a bland concert. It becomes surprisingly challenging to follow the plot, even for a show frequently staged globally over two decades.
Clarity is paramount for any audience, yet “The Last Five Years” demands exceptional definition in its staging and performances due to its unconventional structure, which may perplex those unfamiliar with the piece.
The narrative unfolds with Jamie recounting the relationship chronologically—from encountering Cathy, his “Shiksa Goddess” and aspiring actress, to their eventual separation. Cathy’s musical numbers, conversely, progress in reverse order, commencing with the heartache of the breakup and moving backward to the joy of their initial encounter—reminiscent of “Merrily We Roll Along.”
However, comprehending this structure in the current Broadway rendition of Brown’s semi-autobiographical musical proves remarkably difficult, leading to viewer disengagement.
Jonas’s Performance: Enunciation and Expression
A significant portion of the blame rests on Jonas’s unclear articulation as Jamie, depicted as a Jewish author achieving literary success while Cathy pursues regional theater roles in Ohio.
During numerous musical pieces, particularly the faster tempos, the lyrics were indiscernible. Only adequately sustained vocal notes emerged, akin to a “Charlie Brown” teacher vocalizing at a piano bar.
Furthermore, the pop musician, marking his second adult Broadway appearance, presents as a limitedly expressive actor. Consequently, his physical performance fails to compensate for his deficient vocal delivery.
With the lyrical content obscured, Jonas’s Jamie becomes devoid of discernible personality, offering no insight into his character. Brown’s lyrics inadvertently gain a new layer of meaning: Jamie is indeed over, and Jamie is indeed gone from the audience’s comprehension.
Direction and Staging Shortcomings
Jonas is not solely responsible for the production’s shortcomings. White’s direction, or its apparent absence, is unengaging and indistinct.
Despite the musical’s minimalist set design, this does not excuse a lack of specificity, ingenuity, or engagement in the staging. Yet, the revival is inelegant and visually unappealing. Narratively diluted, White leaves the audience adrift without clear direction. It remains consistently unclear regarding setting and time period for Jamie and Cathy, beyond their fixed position downstage center at the Hudson.
Apart from occasional movements to an awkwardly elevated platform, the staging remains rudimentary and static.
Warren’s Vocal Performance: A Minor Highlight
Warren, a Tony Award recipient for “Tina — The Tina Turner Musical,” offers the sole redeeming quality of this production. Her vocal performance is predictably impressive, complemented by exemplary diction. The ability to simply understand the sung words becomes a noteworthy relief.
However, potentially influenced by her co-star and directorial choices, Warren’s portrayal of Cathy lacks the depth and complexity inherent in the character. She presents as composed and unwavering, missing the neurotic or vulnerable qualities typically associated with a struggling actress in New York facing constant professional setbacks. Warren’s performance, in this context, verges on unremarkable.
Nevertheless, she constructs a more defined character than Jonas. Indeed, she delivers a character.
Overall Impression: A Disappointing Theatrical Experience
While the audience may gain a fleeting acquaintance with Cathy, any profound understanding of Jamie remains elusive. Ultimately, “The Last Five Years” in this iteration fails to resonate. As the performance concluded, a shared sentiment likely permeated the theater: the production “could do better than that.”