Cardinal show anything but ‘Ordinary’

By John Lyle Belden

For these unusual times, Cardinal Stage of Bloomington presents an unusual theatre experience.

Shown online on-demand through Feb. 21, Cardinal’s production of the musical “Ordinary Days” by Adam Gwon relies on technological wizardry to allow four actors to interact while performing their parts in Covid-safe separate locations. Set in New York, circa 2008, we meet four “ordinary” individuals who will have an extraordinary influence on one others’ lives.

Our introduction to them, and this play, initially struck us with an uneasy “what’s this?” feeling. The obviously green-screen NYC backdrop, with our struggling artist-slash-artist’s-assistant-slash-pamphleteer? singing about – what’s this about, again? – but he sure is eager. And wordy. This song could have been written better. And there’s just a single piano in the background. Why does this feel like an audition tape?

If it all seems puzzling to you as well, stick with it. It gets much better.

After Warren (Henry Miller) ends his song with a winning smile, we jump to frustrated grad student Deb (Nina Donville) singing the foundation of her character arc, then to Jason (Julian Diaz-Granados) and Claire (Kayla Marie Eilers) who we discover are moving in together. So that connects two of the characters, but how about the others? A lost-and-found, followed by an odd but artsy rendezvous, kicks off an unlikely relationship between two souls seeking their purpose in art and words. And by the time this hour and a half (no intermission) is over, one pair will affect the other in a subtle but profound way.

Donville delivers as a woman struggling with the expectations of others, and herself, brought to a personal crossroads by impish Warren, in whom Miller channels the “if I can make it there” spirit of the Big Apple, even when his perpetual optimism is challenged. Diaz-Granados’ Jason is a hopeful romantic, wishing to communicate the depth of his feelings for Claire, but instead, at the worst moment, blurts out a proposal. Eilers effectively presents Claire as someone yearning to move forward, but held by a nagging uncertainty. Under the direction of Cardinal Artistic Director Kate Galvin, Gwon’s plot gently weaves together these “ordinary” yet interesting lives with a gust of the wind through the high-rises.

Also tying the scenes and thematic threads together are music director Ray Fellman on piano, and video editor Alyssa V. Gomez of CO-OP Productions, who brilliantly creates character interaction in this strange (for live stage fans) medium. For the vocal harmonies, I’m guessing credit goes in part to sound editor Robert Hornbostel. Rounding out the crew is stage manager Corey Hollinger.

To experience “Ordinary Days,” go to CardinalStage.org, and gather around the screen for a $25 “household” ticket, but only through Sunday.

IndyFringe: The Circus of Joy

By John Lyle Belden

Here’s how the show opens (note adult language)

From there things get even sillier and more bizarre.

Jason Adams (of “…is a Goddamn Mind Reader” and “Face Your Fears” fame) is Bongo the Blockhead, and with bearded lady Erin Grievances they perform comic feats that include so-fake-they’re-funny bits along with omigod-I-can’t-watch actual stunts. Yes, the concrete block and bed of nails are real.

Having a rowdy bunch of friends in the audience helped with the atmosphere and did lead to the tongue-in-cheek hashtag of #jasonadamsisdead. But actually, everyone is more likely to die laughing, provided your sense of humor embraces the silly and a tad crude.

And you saw correctly, Erin does distribute a few cocktails to lucky audience members. A few may also be brought onto the stage — but don’t worry, all volunteers survived (at least the show I saw).

Remaining performances of The Circus of Joy are Saturday afternoon and Sunday evening, Aug. 27-28. Info and tickets at indyfringefestival.com.