Jason Robert Brown’s The Last Five Years is proof that there’s life after Sondheim that doesn’t require settling for Frank Wildhorn. As brilliant as it is cynical, Brown creates a worldview that charts the life and death of a relationship by presenting it simultaneously from beginning to end in the eyes of up-and-coming novelist Jamie (Jared Bradshaw) and retrospectively for his shiksa Goddess and aspiring actress Catherine (Stephanie Likes). Though initially disconcerting, the synchronized movement from love to loss and from loss to love adds an ironic commentary that heightens the emotional impact of the story. The songs are melodic and the lyrics strong. This is a chamber musical, but in the hands of Dennis Courtney and Actors Theatre, the design element is made unnecessarily grandiose but survives on strong performances and Jonathan Ivie’s excellent onstage band.

Courtney’s movement and choreography is brisk and engaging. He has paced the show strongly and come up with several interesting stage pictures. Every once in awhile, though, he pushes for too much, as in his choice for the single use of the otherwise unused windows on Desiree Maurer’sheavily symbolic deconstructed brownstone set.

The strongest performance of the evening comes from Bradshaw. He creates an appealing schmuck with his strong voice and likeable way. He keeps Jamie true to life, and he has an electric personality. It’s easy to fall in love with this creation, especially during “The Schmuel Song.” Likes is good, although her offering is not quite as lively. Vocally, she aces Catherine’s songs, especially “Still Hurting” and “Climbing Uphill.” She just doesn’t quite rise to the energy level and involvement of Bradshaw. Still, the two of them together are an engaging disconnected duet.

Maurer’s set feels like window dressing to justify higher ticket prices. In a show such as this, sometimes less is more. Her and Paul A. Black’s use of the scrim behind the brownstone and orchestra leads to a lot of colors for each scene, but only one, the wedding scene, that works effectively. Lois K. Myers’ costumes work well for Bradshaw, and are generally unflattering to Likes. Ivie’s orchestra (Maureen Fleming on cello, Dasha Hlaenka on violin, Wes Kelly on bass, Carole Pellatton guitar, and Ivie on piano) is excellent and supportive of the singers.