‘The Last 5 Years’ review (cast 2)
‘an undeniably spectacular piece of theatre’
TDTC’s The Last 5 Years is a masterclass in theatre, with every element coming together to transport the audience into a beautifully raw and honest story. Directors Maariya Khalid and Hannah Sheppard (assisted by Cat Morgan) powerfully depict the five-year relationship of Cathy, a struggling actress, played by Hannah James (also by Cora Frith-Fletcher) and Jamie, a breakout writer, played by Bede Capstick (also by Preeya Harte). While Jamie recounts his version of events chronologically, Cathy recounts hers in reverse, beginning with their divorce.
The staging of this production is truly unique, providing the perfect setting for such a story. The debut of the revolve stage in Durham is not wasted here at all. Every use of the revolve is intentional, driving forward the story. The use of the balcony alongside the revolve allowed for dynamic staging, including depicting both storylines alongside one another. The costumes are simple, and yet perfectly aid the audience in following the dual storyline, something also aided wonderfully by the lighting, designed by Leyla Aysan. The contrast between warm and cold perfectly reflects the tone of the relationship, with a perfect blend of the two being utilised at the intersection of the stories. Production Manager Henry Flack must also be commended for the unity of all production elements, from lighting to projections and sound.
The set is not complex, and yet accomplishes everything it needs to. The revolve features the desk of writer Jamie, and an armchair, used primarily by Cathy. What appears to be a simple living room set up at the start of the show quickly demonstrates the space of each character individually, with the other rarely interacting with it. There is a sense of fluidity to the whole production, with every prop and set piece being used effectively, often on account of the story almost being told twice.
The sound, designed by Shade Bannigan-Davis, is the final element which helps fully immerse the audience in the story. However, the sound is not overused either. There is no fear of silence at the most powerful moments of the production, allowing the audience to truly sit in the discomfort created onstage. The entire production team has worked to make the audience feel as though it is there with Cathy and Jamie.
The vocals in the show are impeccable. James’ voice floats over the many high notes in Cathy’s songs with ease, and yet she maintains an impressively strong acting performance, highlighting Cathy’s desperation and love all at once. A standout performance has to be the opening number, ‘Still Hurting’, in which Cathy sits on stage alone processing the end of her relationship. The acting in this number is incredibly moving – James leaves the whole audience mourning the relationship with her. Capstick gives an equally commendable performance. His entrance is much more upbeat – with Jamie revelling in the new relationship in a childlike manner. However, as the performance goes on, he becomes much heavier as he feels the burdens of all that has come to be. Capstick demonstrates a truly powerful tenor belt through the whole show, as well as shifting to a much quieter, subdued voice where appropriate. The character growth of Jamie is portrayed wonderfully by Capstick, through both his voice and his physicality, as the character grows in confidence but also recognises his mistakes. While they are primarily singing as soloists, the moments that the two do sing together feel ethereal; their voices blend into something spectacular. Credit must also be given to Musical Director, Tom Klafkowski (assisted by Louis Nangle). His solo piano accompaniment of the show gives the entire performance an intimate tone.
Both actors also perfectly demonstrate their comedic timing, with numbers such as ‘The Schmuel Song’, sung by Capstick, and ‘Climbing Uphill’, sung by James providing strong moments for the audience to enjoy amongst the heavier elements of the story. The stagehands undoubtedly assist with this comedy, ensuring set pieces and props are precisely where they need to be.
The staging throughout is powerful, thanks to Khalid and Sheppard utilising both actors, even when only one is singing. A highlight is the final song, when Jamie is ending the relationship and Cathy is starting it. As the two sing to each other they are separated both physically and emotionally, creating a climactic end, despite the audience knowing it was coming from the start.
This musical represents life at its most raw, and the characters at their most vulnerable. Audiences are connected to the characters on a personal level and transported into their lives. Everything works well with each other in the production – the outcome being an undeniably spectacular piece of theatre – it is certainly not one to miss!
By Lucy Paget.