‘The Last 5 Years’ review (cast 1)
‘a heartfelt performance capable of reaching out to an audience compelled by its potential relatability and pure humanity.’
Tone Deaf Theatre Company’s The Last 5 Years expertly portrays the importance of theatre in articulating the individuality of connection and life, unleashing cascades of emotion with every moment that plays out. Directed by Maariya Khalid and Hannah Sheppard (assisted by Cat Morgan), this musical follows the five-year relationship of Jamie, a rising novelist played by Preeya Harte (alternately by Bede Capstick), and Cathy, a failing actress played by Cora Frith-Fletcher (alternately by Hannah James). Interestingly, we watch as Jamie recounts their relationship chronologically, whilst Cathy recounts it backwards from the point of their breakup, creating a fascinating conjunction tracing love and loss. Khalid and Sheppard’s execution of the thematic intensities driving the show is fantastic, crafting a heartfelt performance capable of reaching out to an audience compelled by its potential relatability and pure humanity.
First and foremost, I could not write this without drawing attention to the one-of-a-kind staging. The Mark Hillery Arts Centre is the perfect choice, allowing for the provision of both a balcony and a revolving stage, fitting wonderfully with the theme of the movement of time. This show could not have been a better choice for Durham’s first use of the revolving stage. The costumes serve to embody characteristics of both the characters and the performers themselves, intensifying the realism of Cathy and Jamie’s tragic narrative. Furthermore, the minimalism of the various set pieces and props add to the story itself, clustered amongst the progressive catastrophe of the relationship before us, conjunctively intensifying the intimate moments shared between the couple. Attention to detail is certainly kept in mind: set pieces largely revolve around Jamie’s mounting success, where there is limited to no representation of Cathy onstage through props. Khalid and Sheppard, and Production Manager Henry Flack, must again be commended for this and their astounding transformation of theatre not just as entertainment, but as a form of illustrious storytelling.
The lighting (designed by Leyla Aysan) is particularly intriguing, often switching between white, harsher lighting to soft, warmer tones between scenes. Often during their conflict, Jamie and Cathy are placed into opposing lighting whilst both present onstage; it perfectly places their relationship into the abstract, defined by colour alone, which I could never have thought could be done. The sound (designed by Shade Bannigan-Davis) immerses the audience even further into the narrative, encompassing the various surrounding noises following Jamie and Cathy’s environments. These features, combined with the closeness the venue provides between the performers and the audience, completely swallows the room into the narrative and drapes tumults of emotion across the walls.
As musical director, Tom Klafkowski (assisted by Louis Nangle) does a wonderful job at orchestrating the vocals that drive this show. He must also be praised for his role as the sole pianist, earning a well-deserved applause during the bows. Frith-Fletcher stuns as a performer, perfectly embodying the frustration that Cathy holds against Jamie’s success and her lack thereof. Many of Cathy’s songs include high belts, and without fail, Frith-Fletcher hits every one with remarkable power and projection. The opposition between her grit during moments of intensity, compared to the softly spoken nature in her early relationship with Jamie, demonstrates Frith-Fletcher’s incredible understanding of character embodiment. Harte excels as Jamie, playing into his arrogance and obliviousness to a frankly astounding level of strength. Their ability to effortlessly harness the range of vocal challenges within Jamie’s songs is beyond flawless, and a statement of their ability as a performer. Through the complete embodiment of Jamie’s character, Harte coordinates the progression from ‘Shiksa Goddess’ to ‘Nobody Needs to Know’ remarkably, which works beautifully in conjunction with Frith-Fletcher’s performance.
The show itself feeds off of the performance of the two actors, and Frith-Fletcher and Harte work together to puppeteer this narrative excellently. In the moments they share vocally, their voices blend into a perfect harmony that is beyond stunning, making me wish that there could only be more of it. For a show so heavily focused on the complexity of Jamie and Cathy’s dynamic, Frith-Fletcher and Harte could not have greater chemistry, even with such a limited opportunity for interaction. The story is told through their expressive natures alone and the individuality with which they fuel their characterisation, markers of greatly passionate performers.
The Last 5 Years reflects life in its truest form and the consequences that can arise in conjunction with individual choice. It envelops human connection, desire, and love, proposing a complexity that strays from the idealistic linear and addresses what ultimately cannot be controlled. As a story in and of itself, it is truly a testament to the endless dichotomy of love and loss. This production alternates between its casts, and thus Capstick and James must also be commended for their respective efforts in constructing this performance. This musical is not one to miss – a fantastic way to start the term off!
By Arthur Hamilton.