one story, two heartbreaks: “The Last Five Years” at The Strand Theatre
Catherine Moulton (Cathy) and Domenic Jungling (Jamie) take their bows at the Strand Theatre.
Jason Robert Brown’s The Last Five Years is one of the most celebrated and beloved pieces of contemporary musical theatre.
With just two cast members, the musical chronicles a doomed relationship between a married couple in their twenties. Jamie, the man, tells his story from beginning to end, while Cathy, the woman, tells hers in reverse. This means their narratives rarely directly align, and instead of watching them interact with each other, fall in and out of love, the audience is left trying to piece together what led to each moment of heartbreak or outrage, and in a way, experiences what Cathy and Jamie would have felt: feelings and moments of pain isolated from a greater narrative. It also means that the narrative is constantly moving. This constant movement prevents us from settling into any one moment too comfortably; as soon as we grasp where they are, the timeline shifts again.
It’s a remarkably unique structure for a musical, and one that only a composer of Brown’s skill level could pull off successfully. The score is brilliant, complex, and demanding of any performer or musician. Brown’s most notable gift, among many, is the ability to express a character’s complex feelings and desires directly through the music and orchestrations. His lyrics are strong — clever without losing accessibility for the modern, casual listener. But the complex music underscoring it all is what makes the show truly unique; in a late Act Two number, Jamie makes a dark confession about the demise of the relationship. As he sings, the music swells beneath him — strings carefully build and bells toll, creating an overwhelming sense of doom. As powerful as the lyrics are, the message might be just as clear without them.
While some might argue that Cathy and Jamie’s breakup is the result of a slow build-up of small wounds, there’s also a tragically simple problem at the core of their relationship: imbalance. He is more successful than her, and she resents him for it. While Jamie finds himself sailing into literary success, Cathy endures failed auditions again and again, and finds herself stuck in the summer stock theatre circuit. Determined to be more than just a suburban wife “trotting along at the genius’ heels,” Cathy lets her insecurity sabotage the relationship, and Jamie, in turn, begins brewing his own contempt.
Marietta’s The Strand Theatre rises to the challenge of Brown’s score with a touching and engaging production of this modern classic. Domenic Jungling delivers a compelling performance as Jamie, his soaring tenor bringing Brown’s music to life. He leans into theatricality, choosing a different route than Norbert Leo Butz’s original, more naturalistic portrayal. One highlight of the performance is his energetic “The Schmuel Song,” in which Jamie puts his gift for storytelling to use to reignite Cathy’s confidence during a period of discouragement. “Shouldn't I want the world to see the brilliant girl who inspires me? Don't you think that now's a good time to be the ambitious freak you are?” he sings with zeal and charm. The moment is bittersweet—his words are full of love and encouragement, but the audience (with the benefit of hindsight) knows that no amount of support will keep them together.
Catherine Moulton’s Cathy, more shy and subdued than many actresses choose to play her, shines in the more subtle moments. Her performance of “See I’m Smiling” nurtures a growing tension underneath the desire to make things work and enjoy the moment, culminating in rage as she condemns Jamie for his selfishness, telling him, “you can’t spend a single day that’s not about YOU!” Moulton captures Cathy’s fragility, her desperate attempts to hold onto both her emotions and the relationship slipping through her fingers. Vocally, she handles Brown’s demanding score with grace.
The minimalist set, mainly consisting of a desk used by both characters and romantic string lights behind them, serves the story well and adds a warmth to its sparse nature. Whether an attempt to obscure the time period or depict Cathy as fashionably out of step, some rather dated costume and styling choices felt slightly at odds with the show’s modern and naturalistic essence. Fans love this show for its sense of relatability; it could be them or their best friend up on stage—writing a first novel, battling audition nerves, or being ditched by their ex-boyfriend on their birthday.
The Last Five Years invites discussion—theatregoers may find themselves asking their friends “who was at fault?” as they leave the theatre. Could Cathy and Jamie have saved their relationship? But the show’s brilliance lies in resisting easy answers. The crisscross narrative makes it clear that the relationship’s demise was inevitable from the beginning. But is it better to have loved and lost than never to have loved at all?
The Last Five Years runs at The Strand Marietta through March 9, 2025.
