The Last Five Years Review: Rachel Zegler and Ben Platt Make Time Stand Still
In a stirring production at the London Palladium, musical-theatre megastars Rachel Zegler and Ben Platt captivate audiences in a 25th-anniversary concert of Jason Robert Brown's acclaimed two-hander, The Last Five Years. Following her electrifying role in Evita, Zegler returns to the iconic venue, joining Platt for a performance that masterfully navigates the complexities of a curdled marriage through opposing timelines.
A Tale of Two Perspectives
Jason Robert Brown directs and conducts from the piano on a set by Bretta Gerecke, which features central staircases and separates the band across various levels, evoking the urban spaces where the story unfolds. The narrative follows novelist Jamie, portrayed by Ben Platt, and actor Cathy, played by Rachel Zegler, as they give their perspectives through alternating solos. The production's masterstroke lies in having Cathy's story told in reverse, beginning wearily post-breakup, while Jamie's unfolds chronologically from first infatuation. Halfway through, they duet at their wedding, symbolizing a fleeting union amidst emotional turmoil.
Platt and Zegler enter from opposite sides, meeting in the middle for an embrace that foreshadows this midway connection. Platt retreats with a plangent string accompaniment, and Zegler delivers a stark opener, Still Hurting, staring at his departure. Throughout the semi-staged production, absences are accentuated, with Zegler painfully capturing the frustration of a partner whose unfinished business goes unheard by a departed ex.
Musical Brilliance and Emotional Depth
Platt bursts back on stage for his giddily comical solo, Shiksa Goddess, infused with a Latin feel, as he anticipates his Jewish family's reactions to his passion for the gentile Cathy. In mock-horror baritone, he sings, "My grandfather's rolling, rolling in his grave," while Zegler serves a more sardonic humour in See I'm Smiling, flashing a fixed grin to a musical ping. As the story charts Jamie's meteoric rise, he becomes caught up in his own whirlwind, leaping from spotlight to spotlight like stepping stones, while Cathy watches on, her career stalling in summer stock.
Brown's acute observations explore themes of shared success, belief in another and oneself, and the toll of professional rejection. Cathy's spiralling interior monologue during a number frames Brown as the pianist at her audition, highlighting the emotional weight of artistic pursuit. The musical is measured in critical minutes, ambling evenings, late arrivals, early departures, and the reverie of what Cathy calls "Jamie-land," as the author stares out of windows positioned around the backdrop.
Time and Transformation
A deep understanding of how time passes permeates the production, with Brown even incorporating a talking clock, its ticking hands mimicked by Platt during The Schmuel Song. Mark Smith's latticed lighting conjures a deserted tailor's shop, adding to the atmospheric depth. The story captures the racing nature of one's 20s and life running away, culminating in Cathy's resigned realization: "I thought we had a little ... time."
Over an interval-free 90 minutes, the format creates a jumble of joy and pain, akin to a memory play. Brown's eight-strong band, featuring especially fine cellists, carries a sparkle like the residue of romance, with rollicking piano, pop-cabaret fizz, and a daffy high-kicking number performed by Zegler with a cuddly toy. Both actors undergo multiple costume changes, appearing in formal wedding outfits together for The Next 10 Minutes, performed with exquisite stillness.
Final Impressions and Future Performances
While album recordings of the musical cleanly isolate Jamie and Cathy's stories, the stage version allows for more overlap and extra scenes, slightly weakening the overall effect. Yet, Platt and Zegler achieve a feat by conveying a convincing bond despite barely being together, leaving audiences with a sense of individual sadness rather than lamenting the end of their relationship itself.
The casting of these musical-theatre megastars led to the show selling out at lightning speed, even without a press night. Performances continue at the London Palladium until 29 March, followed by shows at the Hollywood Bowl in Los Angeles on 3 April and Radio City Music Hall in New York on 6-7 April. This production stands as a testament to the enduring power of Brown's musical and the stellar talents of its leads.
