The Last Five Years | Reading Rep

The Last Five Years, which is written and composed by Jason Robert Brown and is directed by Hal Chambers, is a gorgeous and beloved musical that boasts an unforgettable premise, and an excellent score. A highlight of contemporary musical theatre, this production of the musical strips away any distractions, allowing for the incredible material to speak for itself.

Brown, who is well known for his song cycles and penchant for emotion and character driven songs, delivers some of his best work in The Last Five Years. With lyrics that are both instantly catchy and quotable, and music that can not be defined to just one genre, Brown has created a timeless soundtrack that is a staple and favourite in modern musical theatre.

The musical follows the five year relationship between Jamie (Guy Woolf) who is an author and Cathy (Martha Kirby) who is an actress. However, a stroke of genius that sets this musical apart from any other is the unique framework of the show. The musical is written with the two characters in different timelines; Jamie's experiences are in chronological order, whilst Cathy's are in a reversed order, with the couple's loves only intersecting for a brief portion of the show. Brown has taken great care that despite this unusual and fascinating premise, the musical continues to not only make sense, but be a truly miracle of a musical with every moment being felt twice as much. 

This production has opted for a minimalistic approach, with little to no set and the presence of the four band members situated on the stage. This allows for the script and songs to soar without any distractions. Set designer Ethan Cheek has created a contained space with three walls and a square pedestal for the performers to engage with. This pedestal also unexpectedly doubles into a small bed. A screen with waves is painted on the back wall, which turns translucent, providing a dream-like depth when needed as characters appear behind it. The subtle touch of the show unfolding in apartment number 5 is a clever nod. Cheek, also the costume designer, has ensured that the passage of time, as well as character traits, are clear and visually detailed in the outfits. 

Kirby and Woolf are a strong duo, delivering incredible performances. Woolf as the charismatic and ambitious Jamie is animated with a large stage presence that ripples over the audience instantly, making him a lovable character. Woolf's easy going nature and dedication to his writing, along with his adorable moments of being giddy in love, helps cement him as quirky personality. Yet it's in his darker moments where his charm has been whittled away, leaving the semi-ruthless nature of a survivor, that Woolf really shines. Woolf's vocals are stunning throughout, with special mentions to If I Didn't Believe In You, The Schmuel Song and Nobody Needs To Know, proving himself to be a gifted vocal storyteller. 

Audiences are thrown into the emotional deep end from the get go of the show, yet Kirby's steady performance is the immediate anchor that audiences remain clutched to throughout the show. Kirby's ability to replicate the heart and hurt of love through her performance is brilliant and she shines in the role. Kirby's has excellent comedic timing and a dramatic performance that is pure golden in Climbing Uphill/Audition Sequence. In fact, Kirby is quite sensational in the role, with a performance for the ages, especially with her emotional and powerful vocals that really bring out the best of the score. 

The band (cello by Rebecca Demmer, guitar by Wills Mercado, bass guitar by Angus Tikka and piano and musical direction from Ellie Verkerk-Hughes) are all present on stage throughout, and for such an intimate musical this only feels natural. The band not only play Brown's score beautifully, but also double up as the ensemble when necessary. Most notably is Demmer's surprise turn as Jamie's literary agent, with her own silent but significant role. 

Chambers, along with movement director Georgina Lamb, has utilised every ounce of the small stage to create a musical that feels all encapsulating whilst also remaining its intimacy. The two performers take it in turns to perform their songs and scenes, yet the other is often present on stage at the same time, resulting in the two actors being in the same location, but not the same place. The movement is slick, keeping both performers moving along with their timeline, often in synchronisation with the other without any interweaving of their parallel moments. The song I'm a Part of That is the prime example, with Cathy singing about Jamie's sole focus being on completing his novel that she's supposedly helped to inspire, yet he never actually looks at her at all. The two performers move in tandem yet are always tantalisingly far; making for a mesmerising watch.

Jonathan Chan's lighting design is marvellous in the show, using overhead stage lighting as well as the set to create an atmospheric environment. With the warmth tones playing a key factor in quickly establishing emotional moments and position within the timeline, Chan makes great use of the small staging. Chan's lighting in Nobody Needs To Know specifically is admirable, with the faded spotlights slowly flooding the stage as Jamie slowly realises his new truth. Matthew Giles provides sound design which resonates well in the theatre, whilst keeping the overlapping voices each crisp and clear.  

The Last Five Years is the first musical to be performed at the Reading Rep Theatre, yet if this production is anything to go by, then the theatre is soon to be a hub for underrated musicals to be performed in its intimate space. This production of The Last Five Years was everything that one would have wanted it to be... and possibly more.

The Last Five Years plays at the Reading Rep Theatre until 12th October 2025.

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★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Alex Tabrizi