ORDINARY DAYS AT THE ADC THEATRE
As if by an act of some mischievous imp, the latest show at the ADC has a title that belies the time. ‘Ordinary Days’ coincided with a day far from ordinary. Set in New York (aren’t most American musicals?), the show went out as the USA went to the polls to decide on a most extraordinary outcome. More Trump? End of Days? A rebirth? The PM’s weekend announcement also meant that the show’s run was to be cut cruelly short – but two performances. This is a pity because the extremely talented cast deserve a longer run. Although I have reservations about the piece itself, there is no doubting the commitment of the four players. They each sing well, have strong Broadway voices, act their varied parts convincingly and as Noel Coward advised, never bump into the furniture.
The musical is sung through, each of the twenty odd numbers providing us with a glimpse into the inner lives of the Manhattan quartet. Claire (Maddie Smith) and Jason (Gabriel Jones) are a pair whose relationship has seen better days though he retains a romantic daydream that their love can be rekindled. We see them fighting (in song that is) over what to throw away in a downsize and which wine to choose for a dinner invitation. The other two begin as strangers. Ella Lane has ample Broadway fizz as Deb, a college student. She has lost her research notes on Virginia Woolf (always a cypher for depression in these shows) and pleads (in song again) with her unseen professor to be treated with leniency. Her notebook in fact has been found by Warren (Tom Baarda), a hopelessly optimistic artist who arranges to meet Deb in the labyrinthine NY Met Museum – the very place the first couple also choose to visit as ‘number 11’ in their ‘top 10 things to do in New York.’ She hates the place, he loves it.
Gwon’s lyrics are sassy, sharp, conversational and feverishly full on. Words are scatter-gunned out spraying the air with mordant wit. Lane’s Gilbertian number as Deb, ‘Calm’, was a real showstopper of a performance. Gwon’s tunes are – well, let’s say Sondheimian – mostly serviceable and occasionally moving. The actors live their parts and there are some great moments such as Claire’s deeply touching revelation behind her apparent hardness of heart. There is a lovely moment as Warren’s seemingly pointless labour (making flyers containing uplifting aphorisms) comes together in Claire’s confessional just before the finale.
My only reservation about the show is the modern American obsession for self obsession. Characters are forever bemoaning their young lives and telling us that the road to their dreams is paved with broken glass. It gets a bit samey and one wishes there was a retaliatory audience song called ‘For God’s sake get a life’.
That said, this was a rather fine production sung with crystal clear diction and vocal power. A live theatre production? No ordinary day.
