Isaac Lamb

More than a feeling of “Ordinary Days”

Subtle emotions bloom in the Broadway Rose production of the touching Adam Gwon musical about city dwellers seeking connection.

Feelings can be sneaky things.

For instance, as I sat through the Broadway Rose production of Adam Gwon’s musical Ordinary Days, the first tear that came coursing down the side of my nose took me entirely by surprise. Nothing tragic or especially melancholy had happened onstage, nor for that matter had the show reached any moment of sweetly happy release. I do recall feeling a tightening high in my chest, but in retrospect I can’t say whether that came before or after I had to wipe my eye. Clearly I was feeling something, but exactly what or why wasn’t immediately obvious.

Ordinary Dayswhich plays through Oct. 14 at the Broadway Rose New Stage in Tigard, isn’t what you’d call a tearjerker. It’s bright, energetic, poppy, full of cute, wry observations and offhand humor. But its take on the quotidian challenges facing four young New Yorkers builds a subtle strength — through both the accretion of tiny narrative details and the inevitable tensions of characters seeking connections — until deep, multifaceted feelings come pushing through the surface simplicity.

Moving and touching: “Ordinary Days” features Benjamin Tissell (left) as Jason and Kailey Rhodes as Claire, a young couple trying to unpack what’s in the way of a better connection. Photo: Sam Ortega.

That surface is appealing in its own right. The show consists of almost entirely of 20 songs that introduce us to the four characters — all trying to find themselves and their futures in the big city — and sketch the arc of their relationships over a brief but impactful time, perhaps a week or two. Gwon’s tunes sound a bit too much alike after a while, either nervously upbeat or twinklingly reflective, but they’re catchy, never saccharine, and the lyrics are loaded with clever rhymes that somehow still feel conversational.

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DramaWatch: “Ordinary Days,” “Color” ways and other plays

Isaac Lamb is sweet on the simple -- but moving -- chamber musical he's directing at Broadway Rose; plus other Portland theater news and notes.

Isaac Lamb is among the most versatile, widely accomplished of Portland-area theater artists, but he believes he’s found a particular niche with his work for Broadway Rose. Amid the crowd-pleasing classics, nostalgic tributes and revues, there’s room for what we might call some less obvious fare — “new musicals, stuff that’s been only rarely produced. And they give those to me.”

Though he’s better known as an actor, Lamb has shown his chops as a director at Broadway Rose, most notably with his gorgeous and moving production two years ago of a little-known but marvelously crafted musical called Fly by Night. His latest project there, opening this weekend, is Ordinary Days, by Adam Gwon, which, like Fly by Night, centers on young adults seeking love and self-discovery in New York City.

Ordinary Days tells a different story, but (company founders Sharon Maroney and Dan Murphy) thought that it had a kinship with that show,” Lamb say, talking late on a recent night, following a dress rehearsal. “So I wanted to take a stab at it.”

Ordinary rendition: Benjamin Tissell (from left), pianist/music director Eric Nordin, Seth M. Renne, Quinlan Fitzgerald and Kailey Rhodes in “Ordinary Days” at Broadway Rose. Photo: Sam Ortega

Lamb also admits that initially he wasn’t overly impressed with the material.

“It felt very simple and sweet, but I didn’t give it a lot of credit at first,” he recalls. “But it snuck up on me. It moved me. Gwon’s whole goal was to show how extraordinary the ordinary really is. Everybody has things going on in their lives that are totally commonplace, but they’re incredibly dramatic to the people experiencing them. An ordinary day can turn extraordinary in the blink of an eye. He sneaks in more deep feeling than you expect.”

The show is essentially a song cycle, nearly sung-through, with minimal spoken text. “It’s similar in feeling to, say, (Jason Robert Brown’s) Songs for a New World, but it tracks as a single narrative.” Peter Marks of the Washington Post wrote of a 2014 production that “Gwon’s 19 songs are…lyrically witty and rich enough in narrative and character detail to power the dual plots of the musical” which “feels like such a fresh alternative to most of the over-produced stuff on Broadway.”

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DramaWatch Weekly: time to JAW

Portland Center Stage's new-plays fest hits its stride. Plus: Isaac Lamb on gender and "The Music Man," Rene Denfeld on "Glass Managerie"

Summer stinks.

Sure, the long days are great, but the summer sun is a hot-tempered tyrant. There’s no good basketball to watch. And maybe worst of all, there’s not as much theater to see.

Ah, but then there’s JAW.

Portland Center Stage’s annual playwrights festival is an oasis in the (relative) desert of the summer performance calendar. Originally called Just Add Water/West, it started in 1999 as an offshoot of a similar program at the New York Theater Workshop. Over the years, it has served as an incubator of works by such renowned playwrights as Itamar Moses (Outrage, Celebrity Row), Lauren Gunderson (Parts They Call Deep), Adam Bock (The Thugs, San Diego), Jordan Harrison (Act a Lady, Futura), Constance Congdon (Paradise Street), Marc Acito (Birds of a Feather), Will Eno (Middletown, Gnit), Kimberly Rosenstock (99 Ways to Fuck a Swan), Dan O’Brien (Body of an American), and Yusef El Guindi (Threesome).

This year’s JAW, ready to roll. Photo: Portland Center Stage at the Armory

As useful as JAW is for writers — giving each a director, a dramaturg, a cast, and more than a week for concentrated rehearsals and revisions — its a boon as well for theater fans when it gets around to what PCS calls “the Big Weekend.” That’s when the public gets let into the process for a series of free staged readings, along with other performances and events.
Because the plays being presented are still being developed, there’s not much in the way of production history or reviews to inform our expectations, but you can read brief descriptions of the plays and playwright bios at the PCS website. In any case, the spirit of discovery — both in plays well-polished or those still finding their form — is one of the great pleasures of JAW, along with the lively lobby conversations between readings.

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Painting the town ‘Scarlet’

We're not in the 1600s anymore: Michelle Horgen's marvelous updating of "The Scarlet Letter" adds a modern sensibility (and lots of songs)

Portland Playhouse’s new musical, Scarlet, is no dry historical retelling of Nathaniel Hawthorne’s 1850 novel The Scarlet Letter. While that popular 19th-century novel was the source material for playwright Michelle Horgen’s retelling, and it is set in the same puritanical time, this is not your father’s Scarlet Letter.

For starters, this is retold by a woman (Horgen is at least a triple threat, having written book, music, and lyrics) in 21st century America. And Hester Prynne has a lot to say — and, it turns out, sing — that rings as true today as it must have in 1850. Judgment and shaming, after all, have become public, prolific, and painful in the era of Twitter and Facebook, where most people can’t simply escape or go home to hide their embarrassment.

Rebecca Teran is Hester Prynne in “Scarlet” at Portland Playhouse. Photo: Brud Giles

In Horgen’s hands, the story also becomes much more about motherhood—how becoming a mother “shatters your existence” in a “blinding instant” — than it was in the words of Hawthorne. There is an especially heart-wrenching story involving Hester’s friend, Sarah Winthrop, a new character who was not part of Hawthorne’s story, which is set in 17th century Puritan Boston. Dana Green, who plays Sarah, wears her grief for the rest of the play — across a number of years — and will break your heart. It is also more about the sisterhood we share with other women — our friends, our community, even the crazy old lady everyone pretends not to understand.

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ArtsWatch’s hit parade 2017

Readers' choice: From a musical fracas to rising stars to a book paradise, a look back on our most read and shared stories of the year

Here at ArtsWatch, it’s flashback time. It’s been a wild year, and the 15 stories that rose to the top level of our most-read list in 2017 aren’t the half of it, by a long shot: In this calendar year alone we’ve published more than 500 stories.

Those stories exist because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation.

Here, back for another look, is an all-star squad of stories that clicked big with our readers in the past 12 months:

 


 

Matthew Halls conducted Brahms’s ‘A German Requiem’ at the 2016 Oregon Bach Festival. Photo: Josh Green.

The Shrinking Oregon Bach Festival

In June Tom Manoff, for many years the classical music critic for National Public Radio’s All Things Considered, looked at the severe drop in attendance and cutbacks in programming at the premiere Eugene music festival. He summarized: “Thinking ahead, I ask: If this year’s schedule portends the future, can OBF retain its world-class level? My answer is no.” His essay, which got more hits than any other ArtsWatch story in 2017, got under a lot of people’s skin. But it was prescient, leading to …

Bach Fest: The $90,000 solution. This followup that had the year’s second-highest number of clicks: Bob Hicks’s look at the mess behind the surprise firing of Matthew Halls as the festival’s artistic leader and the University of Oregon’s secretive response to all questions about it.

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Brilliant? Let us list the ways

The one-man show "Every Brilliant Thing" begins with an amiable Isaac Lamb and builds its odd-duck case one good thing at a time

Let the record stipulate that the reviewer is not a fan of audience-participation theater.

Let the record stipulate that Every Brilliant Thing, the one-man show that opened Friday evening in the downstairs Ellyn Bye Studio at Portland Center Stage at The Armory, is, is fact, an audience-participation play.

Let the record further stipulate that, notwithstanding his biases, the reviewer found himself to be absolutely charmed, and sometimes moved, and often given to outbursts of immoderate laughter. Let the record observe that the reviewer stands corrected, at least this once.

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Isaac Lamb works the crowd. Photo: Patrick Weishampel/blankeye.tv

Every Brilliant Thing – performed with intense likability (if that’s a possible thing) by Isaac Lamb, with the smart and nimble collaboration of director Rose Riordan and some on-the-nose sound design by Casi Pacilio – is an odd duck of a play, but then, sometimes the odd ducks are the interesting ones. Written by Duncan Macmillan and original performer Jonny Donahoe, it debuted in 2013 at the Ludlow Fringe Festival in Shropshire before crossing the Atlantic to New York and beyond. It bears a striking affinity to the sort of theater known as standup comedy, which thrives, among other things, on improvisational give-and-take with the audience. Lamb achieves complicity not by bristling aggressively at the audience, as standups often do, but by sweet-talking them, in gee-shucks conspiratorial tones, into helping him out. And help him out they do, even the ones who feel just a little self-conscious about being suckered in.

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DramaWatch Weekly: Bedsheets and Bongos

Start clicking those links: It's time to play The YouTube Theater Research Game

You play, I play, we all on-the-sly play …The YouTube Theater Research Game!

A.L. Adams

Admit it, Kids: When you see that a show is starring So-and-So, or that it’s from Such-and-Such company, you probably can’t slap those names in a search window fast enough. What comes up may or may not be relevant to their latest work. It may or may not be what their PR people would prefer to show you. But it comes up in a flash, and it at least answers a few who-and-whats, and soon you’re making a slightly more informed showgoing decision.

Shall we?

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Rose City Shakespeare actors append “Lysistrata” in rehearsal. Photo: Jeremy Gardels

The Rose City Shakespeare Company’s current offering at Alberta Rose promises “burlesque, aerial dance and giant paper maché dongs,” but all they brought to this rehearsal video were some bedsheets and bongos. Is Lysistrata holding out on us? Ah. Right. I see what they did there.

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I thought maybe serial theater had died off with Action/Adventure…but no [cue Frankenstein organ music]…IT’S ALIIIIVE! In this video, it sounds like Theatre Vertigo is reanimating the form for its October offering, Joel Patrick Durham’s Nesting: Vacancy. Three things I like about this: 1) Joel Patrick Durham’s been acting-about-town and seems to have a steady hand. 2) Watching several episodes of a play is the perfect TV/theater hybrid. 3) The cast has some strong players and seems gung-ho. One caution: Vertigo does not mess around when they cry “horror.” They’ve mounted some horror there before (in their tiny Shoebox Theatre space) that legit made me want to kill or die. Hopefully in this series, the horror will be cut with the hint of comedy that Durham’s general demeanor suggests.

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Triangle’s “Pageant” crowd at Darcelle XV Showplace

Triangle Productions, in cooperation with Darcelle XV, has uploaded a glittering preview video of their current drag-stravagant audience-interactive musical, Pageant. Going a little off-script, here’s a profile of one of the show’s most charismatic queens, Poison Waters.

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Finally, let’s misbehave and watch a video that PR people would deem flagrantly off-topic, but I’d say permanently pertains to the career of Portland actor Isaac Lamb. Lamb stars in Every Brilliant Thing, which opens at The Armory this Friday, but never mind that. He also perma-stars on the internet as a trailblazer of The Lip Sync Performance Proposal. Enjoy.

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Oh! And ICYMI:

Barry Johnson caught Imago’s take on Raymond Carver, Human Noise, which runs one more weekend, and Brett Campbell got the last word on Bag&Baggage’s Spinning Into Butter, which just closed.