Ordinary days

Ordinary Days is a one‑act musical I had not seen before, but I really enjoyed it.

Stevie Musk had a clear vision, and when a director has a clear vision it usually works — and even when it doesn’t, it is at least clear and executed their way. Stevie did a brilliant job. The concept and visualisation of the stage were key to making this musical work, and they worked extremely well. He told the story he set out to tell.

Joe Poppy did a good job working on the vocals; I heard some lovely harmonies. I did feel for him, though, with Stevie making the decision to place him in the middle of the hall to play! Well done, Joe — I look forward to seeing what you do in the future.

Sophie Carroll and Michael Miles played Deb and Warren at the start of their friendship. I remember, when I was at university, the frustration of writing a dissertation — and I had my notes, unlike Deb who had lost hers. Sophie conveyed this frustration well, and I enjoyed her first interaction with Warren. It was not the ideal first meeting, but all friendships need to start somewhere. Sophie has a lovely voice. I really liked Michael’s characterisation of Warren. He had a great energy, and the vocal writing for this show sat in a good range for his voice. Opening a show like this is never easy, but he did it well. I believed their relationship and how it grew throughout the show.

Craig Harris and Richelle Piott‑Chambers portrayed Jason and Claire’s journey. This was a very different relationship to Warren and Deb. For me, this was a relationship that looked doomed from the beginning; it was obvious Claire was hiding something. A key concept was communication — or perhaps the lack of communication — between the two characters, and Craig and Richelle showed this beautifully. It made the moment when the barriers came down and Claire opened up more poignant. Richelle sang that song beautifully; I believed every word. I believed and could relate to their relationship, and that is a testament to their performances.

The set was genius — there is no other word. It was one of the best uses of the Lytton stage. There were no wasted moments; everything was thought out, from when the doors moved and what was set behind them, to where the picture frames were placed. When the set opened to reveal the MET gallery, I nearly applauded — it was a brilliant idea executed well. Having an artist paint a picture during the performance was such a clever idea. I have never seen this done, and it really worked. Incorporating the painting into the final scene created a wonderfully interactive moment.

Thank you to the Lytton Players front‑of‑house team for their wonderful hospitality, as usual.

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