“The Last Five Years” Shines in London: Zegler & Platt Dazzle in Musical Masterpiece!

Following her captivating performance in Evita, Rachel Zegler returns to the Palladium stage, this time joined by Ben Platt for a special 25th-anniversary concert of Jason Robert Brown’s musical, The Last Five Years. Just days before, Lily Allen graced the same stage with her powerful performance titled West End Girl, exploring themes of a love gone bitter. The Last Five Years similarly delves into a deteriorating marriage, where each half of the couple shares their side of the story through solo songs. The narrative twist is that one character recounts their tale from the end to the beginning, starting just after their separation, while the other narrates from the beginning of their relationship to the end. Their paths cross during a duet at their wedding, marking the midpoint of the show.

Directing from the piano, Brown conducts the orchestra set on a multi-tiered stage designed by Bretta Gerecke, evoking city life and apartment living where the story is set. The protagonists, novelist Jamie (played by Platt) and actress Cathy (played by Zegler), make their entrances from opposite sides, meeting center stage in a symbolic embrace that foreshadows their eventual union at the midpoint of the show. Platt then steps back, accompanied by melancholic strings, as Zegler delivers her poignant opening number, Still Hurting, reflecting on the direction Jamie left. The production emphasizes the theme of absence, with Zegler portraying the deep frustration of unresolved issues that linger after a partner has left.

Platt energetically returns with his humorous solo, Shiksa Goddess, expressing his character’s anticipation of his Jewish family’s reaction to his relationship with the non-Jewish Cathy. He humorously sings about his grandfather’s disapproval, while Zegler counters with sarcastic humor during her song See I’m Smiling, forcedly smiling to the tune of a musical note. As Jamie’s career takes off, he seems to hop from one success to the next, depicted by him jumping across spotlights on stage. Cathy, on the other hand, struggles with a stagnating acting career, watching from the sidelines. Brown’s sharp commentary on the dynamics of shared and individual successes, belief in oneself and each other, and the impact of professional rejection are poignantly illustrated, especially during a song that portrays Brown as the pianist at Cathy’s audition.

The musical adeptly portrays the passage of time, marking critical moments, meandering evenings, late arrivals by her, early departures by him, and the daydreams associated with artistic endeavors, which Cathy refers to as “Jamie-land” as Jamie gazes out the windows incorporated into the set’s backdrop. Brown cleverly introduces a talking clock, with its ticking represented by Platt during his performance of Jamie’s short story The Schmuel Song, with the stage lighting creating the illusion of a deserted tailor’s shop. The narrative captures the swift pace of one’s twenties and the feeling of life slipping away. Cathy’s resigned delivery of “I thought we had a little … time,” highlights the realization that their time has run out.

Structured like a memory play, the musical intertwines moments of joy and sorrow across an uninterrupted 90-minute performance. Despite the somber themes, Brown’s eight-piece ensemble, featuring notably talented cellists, adds a lingering sense of romance through vibrant piano sequences and pop-cabaret elements, including a whimsical performance by Zegler with a plush toy. Despite numerous costume changes and a poignant appearance in wedding attire for the song The Next 10 Minutes, the actors convey a delicate balance of connection and individual sorrow.

While the stage production allows for more interaction between Jamie and Cathy than the original album, which strictly separates their stories, it slightly dilutes the intended effect. Nonetheless, Platt and Zegler successfully portray a believable connection, evoking more personal sadness than a shared lamentation over their relationship’s end. The portrayal of a five-year romance, especially during one’s twenties, conveys significant emotional development; Zegler masterfully depicts a reverse aging process, while Platt transitions from youthful exuberance to a heavier demeanor. The star power of the cast ensured rapid ticket sales, making them a coveted item that I pursued tirelessly through resale platforms—a worthwhile endeavor.