James Sampliner

Here We Are in the Years

Review of The Last Five Years at Long Wharf Theatre The odd thing about Jason Robert Brown’s The Last Five Years, now playing at the Long Wharf Theatre, directed by Gordon Edelstein with musical direction by James Sampliner, is that, though it’s set in the “beginning of the 21st century” (the show originally opened in the Chicago area in 2001) its main plot tropes seem to date from earlier in the 20th century—say, the Fifties or Sixties.

We meet a couple, Cathy (Katie Rose Clarke) and Jamie (Adam Halpin). For five years they are a couple: he’s rising to success as a novelist; she’s struggling to become an actress. The songs in the show are for the most part soliloquies in which either character muses on where they are—romantically and professionally—at the moment. And, lest that should prove too “he said, she said,” Brown cleverly reverses the order of Cathy’s story, so we see her at the end of the relationship first (“Still Hurting”) and move backwards with her to the end of the couple’s first date (“Goodbye Until Tomorrow”); meanwhile, Jamie takes us in chronological order from his early infatuation with Cathy (“Shiksa Goddess”) to his last goodbye (“I Could Never Rescue You”). If you consider for a moment the titles, just named, of Jamie’s songs, you might see what I mean.

The notion of the Jewish boy enthralled by the blonde goddess who is anything but Jewish comes to us, in literary culture at least, from the likes of Philip Roth—who might in fact be a good model for this rising novelist, learning how to be a womanizer, and whose career got started in the late Fifties. The very notion of the “male hero” novelist—while still alive in our current century—should have felt somewhat dated when the show opened at the turn of the last century. Add to that the notion that, somehow, the man is supposed to “rescue” (or thinks he is) the woman and you can see a sort of “frozen in time” ethic at work here. Granted, that very retro attitude may be one of the things that sinks this relationship—see also Cathy’s “I’m a Part of That” and “When You Come Home to Me”—since it seems predicated on relationship roles elders among us might recall having been exploded in the Seventies and placed, we imagined, under irony thereafter.

My sense of the time warp might not have struck me so strongly if not for the differences in the relative strengths of the performers. Clarke’s voice (“I’m a Part of That”) and sense of comic timing (she’s great in the audition scenes of “Climbing Uphill”) make her the stronger of the two before us, and she has the moral high ground from the first song, so, though it may be a Man’s World, it’s not a man’s play. Halpin puts a lot of hurrah into his performance—he’s best at the narrative comedy of “The Schmuel Song”—but he seems unconvincing as both great success and vacillating cad. Though on the latter score, he gives a sensitive touch to “Nobody Needs to Know” (in his first extramarital fling) and can be stern, when suggesting that Cathy's doubts about their marriage come flavored with sour grapes—“I will not lose because you can’t win.”

What works best in this show is the staging. Eugene Lee’s set decoration gives a sense of the temporary nature of these “five years”: things are boxed up and either yet to be unpacked or yet to be carted off by the movers, depending who is onstage. The large spinning play area in the center of the stage, with numbers at clock positions that glow to remind us that timing is of the essence, provides some nice effects as well, particularly when the couple’s one duet, “The Next Ten Minutes,” happens in an improvised boat moving along a pond in Central Park.

The cast is to be commended for not only singing almost everything they say but also for remaining constantly onstage and for having to provide the props of scene changes. It’s a fascinating show to watch for its fluid use of space and objects—director Edelstein knows how to show-off the stage at Long Wharf—and for some nimble actions, like Halpin’s impressive leap to a table top early in the show. Likewise, the band—led by Sampliner—positioned high above the stage like celestial accompanists earn vigorous applause for the tour de force rendering of the diverse musical score that adds considerably to the evening.

As a tale of a couple—unwinding and rising simultaneously—The Last Five Years affords moments of reflection on how these things go. There’s Cathy’s charming excitement (“I Can Do Better Than That”) as she brings her man home to her parents—dissing on the locals she’s glad to get shut of; there’s Jamie’s realization that a wedding ring on a man is a temptation to a certain type of woman (“A Miracle Would Happen”), all of which makes our heroes rather shallow. There’s an emptiness in the life they seem to imagine they want and in the life they seem to get, and there’s not enough satire to make us laugh at them nor enough real feeling to make us identify with them.  Those who like a good cry at the end of a love affair, may find that, with these two, it all seems no great loss. They’ll be fine.

Likeable enough, I suppose, The Last Five Years only lasts 80 minutes.

 

The Last Five Years Written and composed by Jason Robert Brown Directed by Gordon Edelstein Musical Direction by James Sampliner

Set Design: Eugene Lee; Costume Design: Paul Tazewell; Lighting Design: Ben Stanton; Sound Design: Leon Rothenberg; Production Stage Manager: Jason A. Quinn; Assistant Stage Manager: Amy Patricia Stern; Casting: Calleri Casting

The Long Wharf Theatre May 7-June 1, 2014

A Challenging Musical Comes to Long Wharf

For James Sampliner, musical director for Jason Robert Brown’s The Last Five Years, which opens previews May 7 at the Long Wharf, directed by Artistic Director Gordon Edelstein, taking on the assignment is “a major milestone.” Sampliner, who will be performing the show eight times a week, conducting from his piano’s keyboard, sees the complicated and varied score as both an immense pleasure and a challenge.

In Sampliner’s view, the show is a test of a musician’s stamina as, among devotees of musical theater, The Last Five Years is known for its demanding piano score. What’s more, the show is a “two-hander,” meaning that there are only two characters on stage throughout, and the entirety of the show consists of the songs each character sings about their relationship. For Cathy (Katie Rose Clarke), the story of her relationship with Jamie (Adam Halpin) is told from their break-up backwards to her first date with him, while for Jamie the sequence follows a chronology of first to last.

The challenges of the show, for a musical director, entail not only the physical task of playing the show each night—which Sampliner views as a good cardiovascular workout—but also reacting sensitively, even intuitively, to the singers/actors as they tell their parallel stories in song. Sampliner has never worked at the Long Wharf before but has worked with Brown on the latter’s Honeymoon in Vegas adaptation, and feels that his grasp of Brown’s music is important to the show’s delicate dynamic.

“Jason’s music is very carefully written,” Sampliner stresses, so that the musical director’s task is not so much interpreting the music as communicating to the other musicians the different emphases of the actors in performance. One begins to see at once what he means by “complicated.”

Drawing on blues, jazz, rock’n’roll, and classical techniques—all the musical forms he and Brown share a love for—the show, Sampliner says, is “one I needed to do.” Rehearsing with Edelstein, Clarke and Halpin, they have been asking lots of questions of the material, finding their unique way of bringing the show to life. “It’s not so much a question of new layers that other productions haven’t discovered, but asking ‘what do you think this is about,’” finding their own answers to the questions that arise.

The play’s structure is “a brilliant idea,” Sampliner finds, with Cathy moving from her lowest point to her highest and Jamie following the opposite trajectory. “They sing together at the middle point between the two extremes,” and each song offers its individual challenges, so that, for Sampliner, it’s not a question of finding the show’s highpoints, as each song has its highpoints and its rewards. “In so many ways,” Sampliner says, “The Last Five Years is Brown’s magnum opus,” the kind of musical that has musical directors “champing at the bit” for a chance to perform it.

When it comes to conducting, Sampliner finds that being able to conduct his ensemble of six players from the keyboard is the kind of skill necessary at a time when theater demands versatility and smaller orchestras. “It’s not uncommon,” he says and rising to the challenge of playing as well as conducting has him very excited by the opportunity to be, as he says, “the bus driver.”

“At the meet-and-greet when rehearsals began, everyone asks one another what they do, and I like to say ‘I’m the bus driver.’” Making sure the show gets where it needs to go and that all parts of this tuneful, challenging, funny, and moving show get there in concert is not unlike the task of steering an unwieldy vehicle to its proper destination, come what may.

Meanwhile, fans of musical theater and of Jason Robert Brown—currently enjoying a hit on Broadway with The Bridges of Madison County, and likened to Stephen Sondheim in his crowd-pleasing grasp of musical theater—should be lining up to take the ride.

 

The Last Five Years Written and composed by Jason Robert Brown Directed by Gordon Edelstein

The Long Wharf Theatre

May 7-June 1, 2014

Tuesdays and Wednesdays: 7 pm Thursdays, Fridays, Saturdays: 8 pm Wednesdays, Saturdays, Sundays: 2 pm