Five years feels

The Last Five Years (La Boite Theatre Company)

La Boite Theatre, Roundhouse Theatre

May 30 – June 18

Often there is a delight to going into shows unprepared as to what is about to unfold. In the case of Tony Award-winning playwright Jason Robert Brown’s “The Last Five Years” however, it is valuable to know of the work’s unique premise as this allows for full appreciation of the craftedness at its core. And under the dynamic direction of Darren Yap (with musical direction by James Dobinson), celebration of this remains central to La Boite Theatre’s return of the musical to the Queensland stage.

The 90-minute two-hander follows the ill-fated five-year relationship of aspiring artists, novelist Jamie (Robert Tripolina) and actress Cathy (Danielle Remulta) … in two different directions. Cathy tells the story from the end of their marriage; Jamie begins from when they first meet, and, as the musical unfolds, Cathy moves backward in time to the beginning of the relationship while Jamie moves chronologically toward its inevitable end. Their alternate musical narration is all very clever, not just in how the characters share space but not time, apart from a one-scene, mid-show point where the share a song at their wedding (‘The Next Ten Minutes’), but in overlap also of themes and lyrical motifs.

With Jamie’s experience of career success emerging in comparison to Cathy’s struggles, contrasts are soon apparent, and creative choices work well to enhance this through steely lighting of Jaime’s late show laments in juxtaposition to Kathy’s bright beginning (lighting design by Ben Hughes), cleverly also singing goodbye but with another meaning. Effective use of space allows for multiple entry and exit points for characters at all levels. In what is some of the Roundhouse Theatre’s best staging, we are even seasonally lit into the couple’s second Christmas. Props pop seamlessly into and out of the story and costumes changes are barely noticed, such is the slick momentum of its scene changes.

At the beginning Tripolina has the easiest job as emerging novelist Jamie, engaging the audience immediately with his joyful hope as he bounces through the jaunty ‘Shiksa Goddess’ about his delight to be dating outside his Jewish heritage. Tripolina is a charismatic performer who makes for a charming Jamie, even in later scenes as the older and wiser, then successful author must admit that his marriage is at an end. His performance is energetic and built upon a foundation of strong vocal talent. His upbeat ‘Moving Too Fast’ contemplation of life with Cathy seeming too good to be true is a rollicking rockabilly-esque highlight, especially as he grabs a guitar and heads to the heights of the space occupied by the live band of musicians.

Remulta has some moving moments as struggling actor Cathy, a woman betrayed by a divorce she is only beginning to understand, such when sitting along contemplating her emotions in contrast to Jamie’s move-on in ‘Still Hurting’. They are also both adept at delivering comedic moments which land well. ‘A Summer in Ohio’ allows for some entertaining characterisation from Remulta as Cathy writes to Jamie from Ohio describing her life and eccentric colleagues, and there is much humour as she shares the inner monologue accompanying a failing audition experience.

The show is full of insightful but also quirky lyrics, such as in Jamie’s catchy little Christmas story of Schmuel, Tailor of Klimovich, as metaphor for his support of Cathy. Brown’s bitter-sweet score features a variety of song styles. Musical director James Dobinson’s piano is the show’s lifeline, providing the heartbeat of Cathy’s number ‘See I’m Smiling’ and her determination to fix their marital problems, before leading us into Jamie’s move in with her and thankfulness as to how everything is going well.

Instead of the usual dramatic tension that comes with not knowing how things will unfold, music fleshes out and colours in the story’s drama through some rich orchestrations from violinist Annie Silva, cellists Dr Danielle Bentley and David Friesberg, along with Joel Woods on guitar and Patrick Farrell on bass guitar. This makes for a stirring soundtrack.

Production is tight, meaning that the show seems to be over in what feels like the quickest of times, such is its humour and the poignant honesty of all of its feels. Indeed, despite making such versatile use of the possibilities of the Roundhouse Theatre space, things still seem very intimate and emotionally moving in its prompt to ponder if perhaps it is better to have loved and lost, than never to have loved at all.

Photos c/o –  Morgan Roberts

Final five…

With just five days left to go, much-loved musical “The Last Five Years” is about to begin its 2022 run. The intimate and emotionally powerful story is about two 20-something New Yorkers who fall in and out of love over the course of five years. Their story, however, is presented through an unconventional structure that sees Cathy telling her story backwards, while Jamie shares his story in chronological order, with the characters meeting only once, at their wedding in the middle of the show.

Their navigations of the joyous highs and despairing lows of the on-stage relationship will be brought to life by recent Queensland Conservatorium Griffith University graduate Danielle Remulta, and returning home to Australia after wonderful success in the UK, actor and musician Robert Tripolino, both in their La Boite debuts.

“The Last Five Years” returns to Brisbane as a show of great pedigree; acclaimed American musical theatre composer Jason Robert Brown won Drama Desk Awards for the music and the lyrics after the off-Broadway premiere in 2002.  Under direction of Darren Yap, this La Boite production promises to be a relevant yet timeless tale, sure to strike the perfect chord when it plays at the company’s Roundhouse Theatre from May 30 to June 18… quite literally, given that the cast of two will be joined on stage by a live band.

Given the COVID-caused nostalgia for past lost loves perhaps as a warning against letting life’s complications get in the way, it promises to offer an aspect to resonate with everyone. Get your tickets here.

Talented truths

The Last Five Years (Wax Lyrical Productions)

Visy Theatre, Brisbane Powerhouse

October 7 – 17

strings.jpgWhen the opening music of “The Last Five Years” mourns with string sounds it suggests that Jason Robert Brown’s acclaimed 2001 musical is far from a happy story. This may ultimately be accurate, but in its tell of the doomed romance between lovers Jaime, a writer whose career is on the rise and struggling actress Cathy, it is certainly an honest and engaging one and not just in its inspiration from Brown’s failed marriage. And in Wax Lyrical Productions’ hands the musical two-hander is certainly heartbreaking as it traces their relationship from opposite ends.


Initially it takes some effort to follow what is happening, without knowing of its complicated chronological twist, that sees Jamie’s (Kurt Phelan) story moving forward in time, while Cathy’s (Lizzie Moore) is portrayed in reverse. Once comfortable in the format, however, the show’s 90 minute duration flies by, through love at first sight to marriage breakdown and all that goes in between and it is easy to become absorbed in the musical storytelling, which provides an intimate look at the rise and fall of a relationship from infatuation to disillusionment.


There’s not much of a plot, with only its melodically rich soundtrack and no dialogue. The sensational score requires performers with endurance, emotional range and soaring vocals. And in this regard, Phelan and Moore are spot-on, bringing clarity to the narrative and engagement to its storytelling.


As aspiring actress Cathy, the multi-talented Moore moves from lament of the end of her marriage in ‘Still Hurting’ to the show’s most memorable number, the witty and upbeat ‘A Summer in Ohio’ parody of showbiz life and the exquisite torture of waiting for Jaime to visit.


As Jaime, Phelan is charming, charismatic and vocally compelling from his first appearance onstage to share song of his excitement at encountering the ‘shiksa goddess’ of his dreams, moving through time towards the unhappiness of his unravelled marriage. His versatility is engaging, particularly in characterisation within ‘The Schumel Song’, where, as they celebrate their second Christmas, he tells Cathy of a new story he has written about an old tailor, in which he shows his gift for comedy. Indeed, whether the song is comic, gentle or agonised, Phelan creates an unforgettable experience through his outstanding performance, meaning that while you may see the show for the music, you will tell others to go to see him knock it out of the park.


Live on-stage music (courtesy of Shanon Whitelock, Joel Woods, Ruth Donovan, Wayne Jennings, Ruby Hunter and Conall O’Neill) draws upon a number of musical genres to provide emotional resonance, while Jason Glenwright’s lighting design transports audience members from moments of triumph to turmoil and tenderness, including when at a single point in the middle Jaime and Cathy’s stories converge and we see them happy and singing together in ‘The Next Ten Minutes’ after Jamie has proposed. Countless (necessary) costume changes also contribute to the sensibility of each relationship phase. Indeed, under Zoë Tuffin’s direction the production is packed with nuanced nods and subtle suggestions as to the passage of time, which is appreciated in contribution to audience understanding.


With humour, heart and a triumphant combination of cast and creative talent, Wax Lyrical Productions’ “The Last Five Years” certainly does not disappoint. In fact, it will probably stay with audiences long after the actors have left the space, in contemplation of whether we are more Jaime or Cathy or a little bit of both, such is the universal appeal of its thematic truths.

Photo c/o – Joel Devereux