“The Last Five Years” featuring a book, music and lyrics, by Jason Robert Brown, has had a long journey since first opening in Chicago in 2001. It has had two off Broadway runs, two London runs (one West End), it was made into a film, and it has now finally arrived on Broadway at the Hudson Theatre. It is a complicated two-hander about a failed relationship during five years, which is somewhat autobiographical. It stars Adrienne Warren, who is known for her portrayal of Tina Turner on Broadway, and actor, singer, film and television personality Nick Jonas. Given its past exposure, the show does have a certain appeal, especially to audiences who are fans of the complex book and score by Mr. Brown. This production boasts new arrangements and orchestrations by the composer, which tend to be the highlight of the proceedings.

The plot revolves around the five-year relationship between Jamie (Nick Jonas), a breakthrough novelist who is a rising star, and Cathy (Adrienne Warren), a struggling actor chasing her dream. The show uses an intriguing method of storytelling, having Jamie tell his side of the story in chronological order from the first day the couple meet, and Cathy’s story works in reverse, starting from the time their relationship has ended. The only time their stories intersect, and they sing together, is in the middle of the show when they are in the same timeline and getting married. After that, they again continue their own emotional paths. If the show is handled correctly, it is an ingenious concept, and not difficult to understand and follow.

However, under the direction of Whitney White the production becomes confusing and unfocused. Choices that are made diminish the emotions of both actors, who seem to be at war, rather than trying to process the sensitive situation. Having both actors appear in the same scene in which only one is singing, sometimes even reacting to the lyrics being sung, destroys the concept, and expels the power of the one moment they do experience together. The songs become current, rather than retrospective or perceptive. Ms. Warren handles the musical numbers effortlessly with a clear and thoughtful vocalization. The tone is pure, and the content of the vocals sits nicely in her range. On the other hand, Mr. Jonas has some trouble when approaching the higher end of his range and starts to rely on concert type mannerisms when feeling a bit insecure. Unfortunately, this maneuver alienates him from the emotions needed to support the songs and exudes an egocentric personality. Combining all these factors results in this talented duo having no instinctive chemistry on stage.

Scenic design by David Zinn is minimal, and the pedestrian costumes by Dede Ayite along with the simplistic lighting design by Stacy Derosier, do nothing to elevate the production. What does make this production worthwhile are the lush orchestrations that weave emotions into each musical number. The wonderful group of musicians that interpret Mr. Brown’s evocative score is led by Music Director Tom Murray.