‘Last Five Years’ told in fast-forward and reverse

Tom Titus

While it may be true that Jason Robert Brown’s “The Last Five Years”

is a “gimmick” musical, it also must be conceded that the gimmick

works like a charm in the show’s California premiere at the Laguna

Playhouse.

This two-character show may recall such other musicals as “I Do, I

Do,” but the end result in this one is an “I don’t.” That’s not

giving anything away -- the audience is aware of the disintegration

of the couple’s relationship before five minutes have passed.

The gimmick here is that the stories of a five-year relationship

between a twentysomething writer and actress are told from the

perspective of each -- except that his version starts at square one

and proceeds chronologically, while hers begins at the moment she

reads his breakup note and works its way backward to their first

meeting.

The only thing is, in this show, they don’t actually meet. Not

physically, that is, until their wedding day, which occurs halfway

through this 90-minute, intermission-free production. Each character

addresses the audience alternately from his or her perspective, and

we are shown how even the most ideal of relationships can founder on

the rocks if not properly nurtured.

Director Drew Scott Harris has a pair of aces to draw for the

Laguna production in Rick Cornette and Kim Huber. Both are youthful,

attractive and exceptionally skilled vocalists, and each excels in

presenting his or her side of the romance, marriage and breakup,

often in a most poignant fashion.

As in the movie “A Star is Born,” both characters are pursuing

careers in entertainment, but that of Jamie (Cornette) is ascending

at an accelerated pace, while Catherine (Huber) is increasingly

frustrated over her unsuccessful auditions. “Why am I so upset?” she

demands of herself at one point in one of the show’s funniest lines.

“These are the people who put Linda Blair into a musical.”

Cornette splendidly projects his joy at finding a lovely lady who

doesn’t share his Jewish heritage, having been through a litany of

young woman with Hebraic surnames. He also skillfully renders his

increasing disenchantment with Huber following the wedding when she

distances herself from his career by opting not to accompany him to

his book signings.

Huber’s feminism bubbles over during one number when she makes it

clear that she’s not about to be defined by her husband, or his fame.

Yet her emotional collapse upon being dumped at the close of the

relationship comes through with aching clarity.

Musical director Tom Griffin conducts an offstage six-piece

orchestra that underscores the emotional carousel on which the

characters find themselves. Scenic designer Narelle Sissons’ slight

suggestions of locations set the scenes nicely like posters on a

light pole.

Dwight Richard Odle’s myriad costumes -- each change of scene

demands a wardrobe alteration -- brighten the show considerably.

Huber’s onstage transition from bridal gown into street outfit is

particularly impressive.

Anyone who has loved and lost may identify with the characters in

“The Last Five Years” and their pursuit of careers to the detriment

of their relationship. The forward-backward element of the story line

may indeed be a gimmick, but it’s a most enjoyable one.

* TOM TITUS reviews theater for the Coastline Pilot.