Near the end of the relationship Jamie wakes up beside another woman ("Nobody Needs to Know"). She tells him about her past relationships and hopes not to end up in a small town life like her friend from high school ("I Can Do Better Than That"). Though his words are harsh, he promises her that he believes in her ("If I Didn't Believe in You").Ī younger Cathy is in the car with Jamie, who is going to meet her parents. He accuses her of being unsupportive of his career just because hers is failing. Jamie is fighting with Cathy, trying to get her to listen to him. He wants to celebrate a book review but Cathy refuses to go out. Jamie speaks to Cathy on the phone, trying to convince her that there is nothing going on with him and his editor, Elise. She is getting down about the rejection she faces as an actress and complains to Jamie ("Climbing Uphill"). Cathy, meanwhile, is auditioning for a role ("When You Come Home to Me"). Jamie is facing temptation from other women, especially now his career as a writer has escalated ("A Miracle Would Happen"). They get married, exchanging vows to stay together forever. Jamie proposes to her and, for the first time in the musical, they sing together ("The Next Ten Minutes"). Jamie is sitting with Cathy in Central Park. She describes to Jamie her disappointing life in Ohio among her eccentric colleagues ("A Summer in Ohio"). ("The Schmuel Song").Ĭathy is in Ohio and writing to Jamie. He tells her a new story he has written about an old tailor named Schmuel and he gives her a Christmas present: a watch, promising to support her as she follows her dreams of acting. Jamie and Cathy celebrate their second Christmas. She sings about how he ignores her for his writing but she will always be in love with him ("I'm a Part of That"). Elsewhere an older Cathy is making a call to her agent: it seems her career isn't going the way she planned it.Ĭathy is attending Jamie's book party. He comments on how lucky he is that everything is going right for him his book is being published and his life with Cathy seems too good to be true ("Moving Too Fast"). During breaks in the music, we see a younger Jamie, talking to a literary agent about his book. She is anxious to fix any problems in their marriage but she becomes angry when Jamie tells her he has to go back early to New York. It is her birthday and he has come to visit her as she works in a show there ("See I'm Smiling"). Jamie is overjoyed to be dating outside his Jewish heritage ("Shiksa Goddess").Ĭathy and Jamie are in Ohio but not together. It is five years earlier and he has just met Cathy. Synopsis Ĭathy is sitting alone lamenting the end of her marriage ("Still Hurting"). As part of the legal settlement for both suits, Brown removed all references to the character being Irish Catholic, and changed the song "I Could Be in Love With Someone Like You" to "Shiksa Goddess" in order to reduce the similarity between the character, Cathy, and O'Neill. Brown, in turn, sued O’Neill for interfering with his creative work and his creative process. O'Neill sued Brown on the grounds that the story of the musical violated non-disparagement and non-disclosure agreements within their divorce decree by representing her relationship with Brown too closely. The Last Five Years was inspired by Brown's failed marriage to Theresa O'Neill. The characters do not directly interact except for a wedding song in the middle as their timelines intersect. The show uses a form of storytelling in which Jamie's story is told in chronological order (starting just after the couple have first met) and Cathy's story is told in reverse chronological order (beginning the show at the end of the marriage). ![]() The story explores a five-year relationship between Jamie Wellerstein, a rising novelist, and Cathy Hiatt, a struggling actress. Since then it has had numerous productions both in the United States and internationally. ![]() It premiered at Chicago's Northlight Theatre in 2001 and was then produced Off-Broadway in March 2002. The Last Five Years is a musical written by Jason Robert Brown. Playbill for the Off-Broadway production in 2002
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