Paul Spicer: “THE LAST 5 YEARS resonates within us all on a very emotional level”

Originally scheduled for one night only, Notes from New York’s fifth anniversary production of Jason Robert Brown’s THE LAST 5 YEARS will play two additional performances due to phenomenal public demand. With the original performance on Sunday 12 October selling out in less than four weeks of going on sale, West End stars Julie Atherton and Paul Spicer –associates artists of Notes from New York- will now share the stage at the prestigious Theatre Royal Haymarket for three nights in total on Sundays 12, 19 and 26 October 2008 in this much anticipated, brand new gala staging.

Notes from New York started life in 2003. Its purpose is to present the work of contemporary musical theatre composers in the West End.

Paul Spicer tells us more details about this gala staging and about ‘Notes from New York‘ series

WHY DID YOU CHOOSE THE LAST FIVE YEARS TO REPRESENT IN THE FIFTH ANNIVERSARY OF NOTES FROM NEW YORK?
The Last Five Years was one of the pieces from the US that initially inspired us to create the series so it only felt natural to complete the circle and perform the full show for our fifth anniversary.

CAN YOU TELL US MORE ABOUT HOW YOU WILL BE STAGING ´THE LAST 5 YEARS´ AT THE THEATRE ROYAL HAYMARKET? WILL IT BE A CONCERT VERSION OR A FULLY STAGED PRODUCTION?
The production will be as fully staged as is possible for a one-night event. It’s being directed, costumed, designed and treated like any full scale, professional production for a paying audience.

WHAT DO YOU LIKE MOST ABOUT THIS MUSICAL BY JASON ROBERT BROWN?
I think the piece resonates within us all on a very emotional level. It’s the one musical that all my non-theatre going friends adore because they can identify totally with Jamie and Cathy.

HOW WOULD YOU DESCRIBE THE TWO CHARACTERS IN THE SHOW?
Jamie and Cathy are both ambitious and creative. They are both capable of love and are very importantly, not picture perfect human beings. They have their flaws and issues too.

WHAT DOES IT MEAN TO YOU PERFORMING THE ROLE OF JAMIE?
I’m very honoured. I think most guys of my age in the industry see the role as a real gift. The range of emotion is so broad, and delving into his psyche has been an eye opener.

YOU HAVE WORKED WITH JULIE ATHERTON IN DIFFERENT SHOWS. HOW DO YOU WORK TOGETHER?
The most refreshing aspect of working with Julie is that ultimately we both get on like a house on fire. We’re extremely supportive of one another, and genuinely enjoy the other on stage as well as off.

YOU ARE ASSOCIATE ARTISTS OF NOTES FROM NEW YORK. WHAT IS THE MAIN PURPOSE OF THE SERIES?
Our main aim was to present new, contemporary US musical theatre writing in the west end. We all have a passion for giving the new and unheard composers a voice in Britain. In today’s theatrical climate of celebrity casting and constant revivals, we wanted to make sure that the next generation we’re still being given a chance.

WHAT HAS BEEN THE REACTION OF LONDON AUDIENCES TO YOUR SHOWS?
The reactions are always hugely appreciative. When we first started out in 2002, people genuinely hadn’t heard much of Jason’s writing over here and we feel priveledged to have had a small part in introducing London to one or two songs. I hope that our core audience will continue to learn from and support Notes and all it stands for.

DO YOU THINK THAT IT’S DIFFICULT FOR YOUNG COMPOSERS TO BRING THEIR WORK TO THE STAGE?
Ultimately, it takes a producer with nothing to lose to take a chance on an unheard name. Of course it happens occasionally but until you have your first break through production, it can be an uphill struggle.

THIS YEAR IS THE FIFTH ANNIVERSARY OF NOTES FROM NEW YORK. HOW WOULD YOU EVALUATE THOSE FIVE YEARS?
Wondrous. We’ve all learnt a huge amount about the industry, and also grown up with our audience, which is a most extraordinary admission.

WOULD YOU LIKE TO PROFILE THE WORK OF ANY COMPOSER WHO IS STILL UNKNOWN TO GENERAL AUDIENCES?
We have our eye on a couple of composers in their early years who we believe will have a huge impact on British musical theatre in the future. Exiting times.