About ORDINARY DAYS from Ben Krywosz (stage director):

We've had two weekends of performances so far -- 9 finished, plus 1 today at 2:00 and 6 more next weekend, and it's been a joy to see how the show is working with audiences. 

Here are a few mid-run comments: 

• The unusual structure of the piece holds up, in spite of (or because of) the fact that it doesn't faithfully track the formulaic template of what we expect from a "musical". Certainly, it pays homage to the "two couples" blueprint of classical opera and musicals (a "serious" couple contrasts with a "comic" couple), but colors it by making one romantic and one platonic. Opening with four solos, each character establishing themselves with a bit of exposition and a point-of-view, then the "story" starts with the fifth number; a series of amusing scenes are followed by an unexpectedly heartfelt confession; two more comic interactions are separated by funny duet that suddenly escalates our investment; an almost operatic solo that briefly turns into a quartet leading to a existential crisis for all four characters, which is resolved through theatrical metaphor (again using all four voices); a penultimate reveal that bares heart and soul (another nod to conventional Broadway, the so-called "11 o'clock number"); and a seemingly simple coda that caps off our journey with a quiet sense of satisfaction. Composer/lyricist Adam Gwon skillfully moves back-and-forth between expected conventions and his own way of musical storytelling, rooting us in the known but pushing us into the unknown just enough to both comfort and thrill. I look forward to see where his talents and skills are going to take him in his future work.

Keri, Max, Jill Anna, and Doug

• My choice to retain the cast and music director from the reading we did three years ago has been artistically vindicated. Audiences have commented repeatedly on the alignment of character and performer. Keri brings a vocal drive to CLAIRE, making it clear from the beginning that something is being held in emotional check. Doug infuses JASON with a physical ease and comfort based on joy, only to convert it into the anger and grief of unmet expectations. Jill Anna makes DEB a likable academic, turning what could be irritating quirks into endearing efforts at earnestness. And Max moves WARREN from a wisecracking eccentric to an almost-mature mentor, providing insights that even he didn't know he had. Each of them navigates the emotional range that Gwon requests, and the extensive conversations in rehearsal, coupled with bold choices and careful tweaking, have paid off. Mindy offers a solid base with which they can work, playing a complex score almost non-stop for 80 minutes, and continuing to offer the ongoing process adjustments that parallel my staging notes. As artistic director, it's been a joy to watch each performance.

• Directorially, I want these characters to have tiny moments of triumph as they attempt to connect, and where possible, we've provided opportunities for Claire to be in Jason's otherwise solo scenes, reiterating the solid basis of their love, so when that love is later threatened, we care. Deb and Warren's friendship gets off to a rocky start, but because of the warmth that the performers bring to the roles, we are rooting for them to connect, which happens, literally, in the last few seconds of the show. Again, Adam's score supports all these efforts, and he has given freedom to those in the actual rehearsal room to "make it work" -- a generous gesture, indeed!

• The physical production fills the space beautifully; Victoria's set is both massive and yet not out-of-scale in our small space. We wanted to evoke "the city" while avoiding the cliched image of a skyline. We took our cue from the character's efforts to impose order upon their chaotic lives, and found our metaphor in the street-map of urban traffic patterns, creating a grid structure that repeats on all vertical surfaces. It's complement is the idea of transparency, alluding to the characters' efforts to reveal themselves, as well as look into each other's souls; hence, aluminum screens and blue cellophane (through which we can softly see backstage crossovers and Mindy at the piano), and a series of windows with nearly-abstract images of repose.

• Given where my own aesthetic evolution has taken me over the years, this production feels like a great example of the Nautilus aesthetic -- telling stories through music, favoring emotional realism over theatrical naturalism, and creating a performance space in which the story is told, rather than a place where the story is happening. Costumes and hand props are "real"; the environment resonates with the themes of the piece, but requires the audience to invest in "fleshing out" what would be naturalistic details in a movie or a more conventional presentation.

Of course, there are adjustments that could be (and in some instances, will be) made, and all of us are learning more about what it means to tell a musical story in a tiny space, where the audience is a few feet away. But all in all, this production of ORDINARY DAYS feels like a great example of how chamber musicals and opera can provide an intimate and emotional charged experience. I'm proud of the work that my colleagues have done on this production!

About ORDINARY DAYS from Jill Anna Ponasik (Deb):

Jill Anna Ponasik (Deb)

"This painting reminds me of people like us.  Thousands of tiny specks huddled together in random arrangements that nobody expects.  Every dot on its own ordinary and pale.  But thrown together, one by one, they make this dazzling joyous hopeful sort of..."  

A disenchanted grad student developing a thesis on Virginia Woolf, Deb is conducting a frantic search to find her Big Picture - the idea around which the rest of her life will coalesce.  She is not having much luck...until a chance connection with Warren, a struggling visual artist, begins to ground her, open her eyes to the beauty in every-day things, and show her that life is more dazzling, more joyous, more hopeful, when we share it with others.  

As artists working with Nautilus, we're witness to wonder each day.  Minute changes in timing, focus, and intention suddenly make an onstage moment shine.  There's not just a set being built around us while we work - but an entire theater is taking shape.  While the cast hones text and music (and tries to remember our entrances...ok, maybe that's just me), others hang drywall, paint floors, and build risers.  One by one, each dot becomes part of a bigger picture, until finally, we have a production to share.

"Things aren't beautiful all on their own, beautiful comes from reflection.  Beautiful takes a person to make a connection.  You know what I mean?  For beautiful to happen, the beautiful has got to be seen."

Come see Ordinary Days.  You'll be glad you did.

About ORDINARY DAYS from Doug Scholz-Carlson (Jason):

Mindy at the piano

It is such a pleasure coming back to do a full production of Ordinary Days with the same cast that worked on it for Rough Cuts. The last time we worked together three years ago, we had mere days to get our heads around 21 songs. We performed with the music on stands and often had no idea what the the next line might be until we turned the page. Rough Cuts are great for encouraging one to commit to big choices right away. There's a spontaneity that comes from literally not knowing what comes next that inevitably leads to truly unexpected discoveries.

Max, Jill Anna, and Ben

Some of these bold discoveries are real insights into the piece, and some make you wish you could start over. Returning to Ordinary Days three years later, we're finding we have the benefit of those unexpected insights, and we get a do over on the rest.

Max and Keri

So, for the last couple of weeks we've been playing. We've discovered subtlety and depth in Adam Gwon's writing that eluded us the first time. The last time we performed this music, it was full of potential. Starting Thursday, we'll put our new discoveries in front of an audience. I, for one, can't wait.

About ORDINARY DAYS from Mindy Eschedor (Music Director):

It's been great fun to dig back into Adam Gwon's wonderful "Ordinary Days" score!  His lyrics are intelligent, witty and genuine, and his vocal writing runs the gamut from lively patter songs to heartfelt ballads.  He's part of a new generation of musical theater composers who are creating a bevy of "small-scale" musicals that are scored solely for piano accompaniment.  This means that my role at the keyboard is to provide both rhythmic and melodic support, in the absence of bass and drums!  It's a fun challenge to continually experiment with what is needed at any given moment, and adjust the balance of my playing accordingly.  The acoustic in the new studio space is fantastic!  The grand piano fills the room with almost an orchestral richness, and the clean lines and hard surfaces of the studio enable the singers to explore a dynamic range from a whisper to full-throated lyricism and be both heard and understood.  It's been thrilling to hear Doug, Keri and Max combine for the ensemble numbers, and now that Jill Anna has joined us, we'll have the FULL quartet sound!  

The studio and set are taking shape around us as we rehearse - there are new changes daily!  Yesterday we worked with the balcony set piece for the first time, and the raised stage was mostly complete.  Today, the top row of audience risers was painted and in place, the floor was partially painted, and the pipes for the lighting grid were fetched from the big orange store.  Set designer Victoria Petrovich arrives tomorrow, so tech work will begin in earnest!  

About ORDINARY DAYS from Max Wojtanowicz (Warren):

Hi! My name is Warren! 

Or at least, that's my first lyric. My name is Max, and I play Warren.

I'm so happy to be working with Nautilus again because I really believe in the power of Wesley Balk's singer-actor process, and working on a play in an environment where I can feel free to try lots of different things is really exciting. I love an opportunity to try and fail and try again. Without getting too academic about it, the intersection between storytelling and music is really fascinating to me, and I think Adam Gwon has created a beautiful piece that allows the performers to explore and analyze that intersection. Oops, that sounded academic.

Warren and I are really similar in a lot of ways, which makes him fun to play. We're both trying to find our place in the world, what our contribution is, why we belong here and now. He makes me think of my favorite quote, from Rainer Maria Rilke: 

"If your daily life seems poor, do not blame it; blame yourself, tell yourself you are not poet enough to call forth its riches; for to the creator there is no poverty and no poor indifferent place." 

Warren sees the extraordinary in the ordinary. What a gift. I think audiences will really love this show about "everyday things," so I hope you're a part of that audience!

About ORDINARY DAYS from Ben Krywosz (Stage director):

It was the second day of rehearsal, this time with Kersten Rodau (we call her Keri). She's in great voice, as always, and still has the dramatic notes and comments we had discussed in our Rough Cuts reading three years ago. Keri was in our production of JOHN AND JEN last year at the Jon Hassler Theater in Plainview, and it looks like she (and the audience) will be as moved by ORDINARY DAYS as she was by that piece.  We talked about the need for our audience to see the happy times between Claire and Jason, so when their relationship is endangered, we really care about the outcome. Similar to my conversation with Doug, we talked about finding moments of lightness and connection -- both of which she is certainly able to convey.

Doug joined us in the afternoon for duets with Keri -- the two are great together, of course. We had a great conversation about 9/11 (Doug was in NYC when it happened) and how people handle tragedy; a point rather germane to Claire's commitment issues. After Keri left, we started staging, with Doug working on his solos. It was wonderful to be working in the space, on our feet, and digging into the material -- moving fluidly between content discussion, musical notes, and staging explorations. We got through two numbers, sketched out enough so Doug can work on his own. It's so nice to work with a thoughtful colleague not afraid to stop and ask questions, not just of me and Mindy, but of himself. The whole cast has a bit of that; it's going to be wonderful to get all four of them in the room at the same time!

During rehearsal, we received the news that we have exceeded our goal in our Indiegofgo campaign -- over $3,000 raised! And tickets just went on sale, and are starting to sell -- it's very gratifying to know that somebody's paying attention :)