Review: The Last Five Years (London Palladium)
- All That Dazzles
- 2 days ago
- 7 min read
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Did I just hear an alarm start ringing? That was the sound of theatre fans going wild when Ben Platt and Rachel Zegler were announced to star in a special 25th anniversary production of The Last Five Years. The next alarm was the reminder to get tickets, which duly moved too fast, making for one of the hottest tickets and hotly anticipated shows of the year. With so much hype over this production and affection for all involved, would this prove to be a marriage made in heaven, or would I leave the theatre commenting they “can do better than that”?
For those who have never seen The Last Five Years, it tells the story of Jamie and Cathy throughout the course of their five-year relationship. It charts their meeting to their marriage to their messy ending, with each taking it in turns to perform fragments of their lives, careers, and thoughts on the relationship. While that might not sound like anything out of the ordinary, what makes The Last Five Years truly special is its clever and unique narrative style. For Jamie, time moves in a linear way, starting at the beginning and culminating at the end of the marriage. However, for Cathy, time is moving backwards. We first meet Cathy at the end, gradually going back in time ending on the bittersweet moment she first meets Jamie. Some may find the narrative hard to follow, though the early reference to Jamie being both 23 and 28 is the moment things should become clear, but for any first-time viewers of the show, I’d recommend understanding the way time moves for each of them in order to get the most out of the show from the heartbreaking opening moment.
Jason Robert Brown’s masterpiece received its first outing in 2001, making its off-Broadway debut the following year. I consider the show to be one of my favourite musicals, having seen numerous productions of it over the last ten (not five, sorry) years, and I owe my love of it to the TV series Smash!. Having recognised one of the stars of that series, Jeremy Jordan, on a DVD cover in an ASDA (Walmart for any US readers) of all places, I laid my Visa down to buy it, knowing nothing about it at all. To say I fell in love immediately would be to put it mildly, and I wasted no time seeing it on stage for the first time one year later with two little-known actors named Samantha Barks and Jonathan Bailey (whatever happened to them?). Since then, I’ve seen it at every chance I could, from the incredible actor-musician production both at Southwark Playhouse and the West End transfer, which I referred to as “the definitive version of the show”, and a regional production last year I wasn’t quite so enamoured with.
Producers Lambert Jackson also have a great history with the show, producing a virtual lockdown production in 2020. Since then, they have become one of the frontrunners in high-quality concerts, recently winning a WhatsonStage award for last year’s Rachel Zegler concert, so it feels fitting they have brought her back to the London Palladium once again for their biggest production yet, playing dates in America following this week’s West End run.
The big draw for this show was the casting of Rachel Zegler and Ben Platt. Zegler made her West End debut last year with her acclaimed performance in the title role of Evita, and hasn’t been a stranger to London, or the London Palladium stage, since, much to the delight of London audiences. It’s a different story for Ben Platt, however, who has performed in London at his own concerts, but this marks his first musical in the UK. It’s not the last, however, with Platt returning in July for Midnight At The Never Get. These are two performers at the top of their game, with acclaimed credits and accolades to both of their names, making this 25th anniversary production all the more exciting. Though the pair rarely interact on stage, with each either alone or not in the sightline of the other, the fleeting moments they do get to meet on stage boast an electric energy, thanks to the natural chemistry that comes with the pair’s genuine friendship. From the crucial bit where Jamie and Cathy’s timelines intersect to the joyous curtain call featuring Platt scooping Zegler up, their bond was a joy to see - and joy is a feeling very much needed after the conflicting feelings that come with the ending of The Last Five Years. But it is a testament to the strengths of both Platt and Zegler that they still prove captivating without this regular interaction.
Ben Platt’s track record speaks for itself, with his talents clear to see for every lucky attendee at the London Palladium. Through his outrageously good vocal range to the characterisation, Platt demonstrated his strengths at every opportunity, including a great knack for comedy with brilliant timing in ‘The Schmuel Song’, a highlight for his version of Jamie. He didn’t always do the more obvious choices, with a surprisingly restrained take on ‘If I Didn’t Believe In You’, offering a different interpretation of the show in a refreshing twist. Platt’s greatest moment, however, came toward the show's climax with a beautifully understated, raw and sensitive ‘Nobody Needs To Know’. The final nail in the coffin for Jamie and Cathy’s relationship, the slow-burning of Platt’s performance showcased a master of his craft and was the perfect reminder of why his talents have already earned him a Tony Award.
If Platt’s Jamie offered a slightly slow and steady approach to the character, Rachel Zegler came out all guns blazing from the opening moments of ‘Still Hurting’. Tackling one of the show’s best loved numbers that quickly can be a daunting task, but Zegler more than rose to the occasion, delivering powerhouse vocals while tapping into the emotion of the lyrics. Zegler’s intuitive nature for how best to deliver each number clearly worked in harmony with Jason Robert Brown’s vision, creating some of the best interpretations of these now classic numbers I have ever had the pleasure of hearing. From ‘See I’m Smiling’ to ‘I Can Do Better Than That’, Zegler suggested that the title of the latter is true, offering the best renditions of these numbers and ensuring everybody was smiling in the process. The biggest response of the night came from her rendition of ‘A Summer In Ohio’, historically not the biggest of numbers in the show, but it is a testament to her ability that this became a standout in its own right, with Zegler putting her own stamp on it. Similarly, her ‘A Part Of That’ beautifully encapsulated her range, going through a variety of emotions in the space of one song. The clincher for the success of any Cathy is the expression of hope and optimism in the closing moments, and this is something Zegler truly nailed, amplified further when contrasted with Platt’s polar opposite expression, knowing all hope is lost.
What makes this production even more special is the inclusion of Jason Robert Brown himself. The writer and composer of the show has seen many different adaptations of his work over the years, but this version sees him at the helm, directing the production and joining Platt and Zegler on stage to conduct the show. Apart from the fact that this makes it incredibly special to see the man responsible for the work be a part of that magic on stage, it also means his vision can be brought to life in a way like never before. Any questionable choices other directors may make (I direct you to the last review of this show I did) can’t be questioned, knowing full well this is true to Brown’s own idea of the story and the world he created. It also adds an extra hilarious layer to the moments Zegler interacts with the pianist, particularly the line “Why does this pianist hate me?” knowing full well it is Brown himself.
Brown’s direction offers moments of genius that perfectly allow the audience into the world he has sat with for the last twenty-five years. Theatre is a living creature and always evolving, and Brown has a great instinct for this, unafraid to tweak some of his lyrics and arrangements to make The Last Five Years feel as exciting and fresh now as it did in 2001. With musical direction by Leo Munby, dare I say these songs have never sounded better as they did here, allowed to explore their full potential on the rather large London Palladium stage.
The Last Five Years is an intimate story, however, and there was the risk that this theatre could feel too big for it, perhaps losing some of the necessary emotion. That certainly wasn’t the case, ensuring a miracle happened to give us the best of both worlds, with the music sounding grander and more glorious than ever before, while still feeling as intimate and exposing as any production of The Last Five Years should. A special mention must also go to Bretta Gerecke’s set design, revealing hidden tricks and secrets that come into play in crucial moments of the play. What looks like a simple bench transforms into something else, and every door, no matter how subtle, has something behind it. It is a clever touch and one that led to an exciting watch, elevated by some fantastic lighting by Mark Smith.
In 2001, Jason Robert Brown created a masterpiece with The Last Five Years. A show that has more than stood the test of time, winning legions of fans all over the world, earning its place in musical theatre history and having its influence spread far and wise (there is even a nod to it in Hamilton). In 2026, Brown showed why this has been such an enduring success with this effortless and faultless production. Brown could have easily left it in the past and gone with the tried-and-tested version. Instead, he attempts something new with this production, resulting in the most authentic and exciting version of The Last Five Years you will ever see. Add to that the dream cast of Ben Platt and Rachel Zegler, and you are left with a must-see production that will be talked about for years to come. Those who were there will long remember this production long after the last goodbye, though perhaps this won’t be a permanent break-up, and London will get to see this phenomenal version again at some point in the next five years.
The Last Five Years plays at the London Palladium until 29th March.
There are two further chances to see the production in America, at Hollywood Bowl on 3rd April and Radio City Music Hall on 6th April.