Podcast Summary: MickeyJoTheatre – Review of "The Last Five Years" Concert Starring Rachel Zegler & Ben Platt (London Palladium, West End) – ★★★

Host: Mickey Jo (MickeyJoTheatre)
Episode Date: March 30, 2026

Episode Overview

Mickey Jo offers a nuanced, in-depth review of the limited-run, semi-staged concert version of The Last Five Years at the London Palladium, starring Rachel Zegler and Ben Platt, conducted by composer Jason Robert Brown himself. The review navigates the show’s transition to a massive venue and scrutinizes the creative choices, chemistry between the stars, and its emotional impact. Ultimately, while lauding the vocal talents of Zegler and Platt, Mickey Jo questions whether this production’s grand scale serves the piece and muses on the inherent nature of the material as better suited to intimacy.

Key Discussion Points & Insights

1. Context & Personal Expectations

• Mickey Jo’s History with the Show:
  Already his third review of a Last Five Years production within a year (01:00).
• High Hopes, Mixed Results:
  “I... knew heading into the concert this evening... that it was EAS going to exceed my enjoyment of the Broadway production last year... However, what I wasn't necessarily anticipating was that I would still leave... tangibly disappointed.” (01:07)
• On Audience Divisions:
  Previous experience with The Last Five Years (stage vs. movie or cast album) will influence reactions to this concert (03:48).

2. The Show’s Format and Scale

• Intimacy vs. Spectacle:
  The musical, written for intimate venues (premiering Off-Broadway), loses much of its emotional charge in the vast Palladium.
  “That is the natural scale of the material. I mean... the Hudson Theatre was too big... to then put this at the London Palladium... feels like, you know, we're only moving further in that foolish direction.” (06:20)
• Concert vs. "Staged Concert":
  Although billed as a concert, it’s really a fully staged version but without deep production values (costume changes, some set pieces, but not much more) (09:48).

3. Casting and Performance Approach

• Zegler & Platt: Theatre Kid Dream:
  “These two grew up with this material... When they perform it, they exude a love of it and a familiarity of it...” (04:44)
• Chemistry and Connection:
  “These two feel like cute friends. They never really feel like a convincing couple... the romantic chemistry wasn’t really there...” (10:38)
• Musical Direction:
  Jason Robert Brown conducts and directs, contributing authenticity but perhaps prioritizing music over drama (10:42).

4. Individual Performance Notes

Ben Platt (Jamie)

• Strengths:
  “What I will say was very nice was seeing a production... where Jamie can hold his own vocally alongside Kathy. That is almost never what we get...” (13:39) “Unsprisingly, the best material for Ben Platt... is all the stuff that comes toward the end... 'If I Didn’t Believe in You', 'Nobody Needs to Know'—it’s beautiful.” (15:14)
• Critique – Affective Distance:
  “There is a Ben Platt concert vocal... sort of a Streisand, sort of a Cher kind of an affectation... I just wasn't getting any of the emotional meaning and I found myself disconnecting.” (16:35)
• Characterization:
  “His Jamie felt a little less obnoxious, a little more thoughtful... moving through the show who had this real guilt...” (14:30)

Rachel Zegler (Kathy)

• Strengths:
  “Her 'A Summer in Ohio', specifically, highlight of the entire evening, absolutely inspired choices because they were playful and they were fun. The vocals were gorgeous...” (19:35)
• Critique – Emotional Pitch:
  “Her performance of 'Still Hurting'... was played with force and with anger and frustration... when you play the whole thing with bitter frustration, you have nowhere to go...” (18:36)
• Vocal Technique:
  “I continue to thoroughly enjoy the healthy mix that she brings to a lot of these roles... inspire the next generation to sing healthily and to not have to scream, belt the entire thing.” (20:02)

Chemistry Recap

• On the Pairing:
  “I feel like Rachel would be in a great production... opposite a different Jamie. Likewise for Ben.” (13:59)
• Overall Verdict:
  “For that to happen on this occasion, I had to buy who she was, which I did... who he was, which I did. But... that the two of them were singing about a relationship with each other over half a decade, which I didn’t at any point.” (22:44)

5. Staging & Orchestration

• Expanded Orchestration:
  “I counted nine musicians on stage... they all played the hell out of this score under the leadership of Jason Robert Brown.” (24:39)
• Possible Mismatch:
  “I did start to wonder if the sound of the whole thing was beginning to exceed again the emotional scale of the story and the natural size of it.” (25:26)
• Visuals & Blocking:
  “Pieces of staging across two levels... the vibe of the staging essentially is pick a spot and deliver the song. There are occasional costume changes... none of the visuals... were anything I’d describe as particularly impactful or interesting.” (26:08)

6. Script & Lyric Changes

• Lyric Adjustments:
  Noted tweaks in "Shiksa Goddess" and "A Miracle Could Happen," removing or updating references for modern sensibility—but sometimes leaving inconsistencies:
  “I don’t know why we would even bother trying to remove the objectification of women from that song when a few lines later, he’s going to continue to... sing, ‘A pair of brave breasts walks by and smiles at you’...” (28:10)
• Book Reading Section:
  “Let’s talk about that book section that he reads, which is my personal Vietnam... I think there were actually new lines in there... I do wonder why we couldn’t just cut the thing.” (29:14)
• The Timelessness of the Material:
  “...The Last Five Years is a show whose material works if you just get out of its way.” (30:44)

7. Alternative Visions and Closing Thoughts

• Alternative Suggestions:
  • Mixed-cast model with multiple pairs or real-life couples
    “If we are determined to do the last five years in concert... use real life musical theater couples... add in a little bit of a queer element...” (11:46)
  • A broader musical theatre concert with Zegler & Platt (11:33)
• Overall Feeling:
  “Sounded great but didn’t mean much and definitely couldn’t make me cry is all I have to say about the last five years in concert.” (30:54)

Notable Quotes & Memorable Moments

• On the venue’s appropriateness:
  “To then put this at the London Palladium, which is even larger, feels like, you know, we’re only moving further in that foolish direction.” (06:28)

• On the nature of the concert:
  “It feels less like a serious concert production and more like a theatre kid conference at the London Palladium.” (05:08)

• On Zegler and Platt’s relationship on stage:
  “These two feel like cute friends. They never really feel like a convincing couple.” (10:39)

• On direction and staging:
  “There wasn’t really a sense of, are we doing a concert version of this or are we really just doing the thing?” (16:12)

• Summing up the emotional impact:
  “If you’re gonna really go for it, I need to feel things and I didn’t feel anything.” (11:18)

• Playful, memorable staging moment:
  “Rachel briefly does a kick line with a monkey, which may sound confusing out of context. Fear not, I’ll circle back.” (09:57)

Timestamps for Key Segments

• [01:07] – Initial reaction & context, audience divisions
• [04:44] – The impact of Zegler/Platt growing up with the show
• [06:20] – Venue size critique
• [13:39] – On Platt’s vocal match with Zegler
• [15:14] – Platt’s best moments (“If I Didn’t Believe in You,” “Nobody Needs to Know”)
• [19:35] – Zegler’s highlight: “A Summer in Ohio”
• [22:44] – Chemistry summary
• [24:39] – Band/orchestration details
• [28:10] – Lyric changes and their effect
• [29:14] – Critique of the book section
• [30:54] – Final verdict

Summary

Mickey Jo’s review is passionate, witty, and informed by deep familiarity with the material. While applauding the musicality of Zegler and Platt—and rejoicing in the meta-theatrical joy of Jason Robert Brown on the podium—he ultimately finds that size and format dilute the potent emotional storytelling The Last Five Years demands. Chemistry between the stars is questioned, direction is deemed too light, and the emotional catharsis the show is known for is lost in the grandeur of the venue. Audiences will enjoy a night of world-class singing, but may leave wishing for something more affecting—or just for a different staging approach entirely.

Final Quote:
“Sounded great but didn’t mean much and definitely couldn’t make me cry is all I have to say about 'The Last Five Years' in concert.” (30:54)