Ordinary Days is an original musical following four young New Yorkers whose lives intersect serendipitously in some of its most famous streets, parks and museums. Talking to the audience and each other through a score of songs, they each share their struggles to find love, happiness and meaning as they negotiate the complexities of life in the big city.

While this production might seem awash with sentimentalism due its messages about letting go, taking risks and finding the extraordinary in the ordinary, luckily this isn’t cheesy or overdone. In fact, the production strikes the right balance by employing irony, humour and the subtlety of music, allowing the elegiac tunes of the piano to amplify the emotional beats.

This is also helped by first-rate performances. Rachael Beck is a natural singer and performer, seeming to float around the stage while Michael Falzon is steadfast and powerful. Together, they bring a genuine intimacy to their roles as Claire and Jason, the couple deciding whether to make a long-term commitment.

Erica Lovell is a standout as Deb, the angry grad student, who constantly wants to be someone where else in a bid to realise her ‘big picture’. Through her interactions with the unwavering idealist, Warren, played by Jay-James Moody, she invokes the sardonic wit of the character with razor-sharp timing, bringing some of most humourous moments.

In the end, I couldn’t helped be moved by Ordinary Days, its music and message. As Warren explains to Deb while gazing at a gallery painting: artists make us see the beautiful in the ordinary and, “beautiful takes reflection; beautiful takes someone to make a connection”. This production certainly lives up to this credo and the result brought tears to my eyes … Oh well, I guess that’s the beauty of living in the moment.

Until Feb 19, Darlinghurst Theatre Company, 19 Greenknowe Ave, Potts Point, $33-38. 8356 9987, darlinghursttheatre.com

More Than All The Little Pearly Shells features the work of Adolf Gustav Plate, a late 19^th Century European painter and Phillip Juster, a Brisbane born artist influenced by the Pop Art of the seventies.

Together they provide approximately 76 artworks, which are set in a yin-and-yang like juxtaposition around the walls as the sounds of waves and wind swish in the background. Additionally, a small collection of shells and stamps circles the middle of the gallery, while Pacific traditional headdresses, made by self-taught artist Tito Schmidt-Stowers, loom above various parts of the exhibition.

Plate’s work, done mostly in watercolour and oil, depict ocean harbours, landscapes, people and sometimes, the daily rituals of Fiji, New Zealand and Indonesia in the late 1800s. While his technique seems crude and rustic, somehow Plate’s scenes are intricate and lively; his muted yet natural tones reflecting the major hallmarks of realism.

Philip Juster untitled (quotation Series) 1995 & 2002 collage on paper

The pieces by Juster were created in the late 90s in a series of works, which all utilise an acrylic and collage ensemble. In each work, a patchwork story is told, a mishmash of drawings or photos, and then set against brash reds, baby blues and bright oranges. The result is loud, asymmetrical and provocative; a postmodernist pastiche against the inner workings of colonialism.

At first glance, it’s not clear what these two artists, separated by 100 years and differing mediums and aesthetics, have in common? And furthermore, why they’ve been placed in an exhibition together? But it is no accident. In fact, combined they create a dialogue between colonialism and post-colonialism, revealing the legacy of the former on the latter and how these differing perspectives were shaped by the dominant modes of thought at the time.

While the work of both artists is visually pleasing and overall, the exhibition is polished and thought-provoking due its design and political subject matter, I’m not sure it is that interesting enough to warrant the trip. It’s a planes, trains and automobiles (well ok, minus the planes) adventure to get to this gallery and if you’re not up to scratch on the tenets of post-colonialism or interested in realism or the Pacific region, it might be all a bit lost on you.

Until Jan 29, Penrith Regional Gallery, 86 River Rd, Emu Plains, free, 4735 1100, penrithregionalgallery.org

In a motel somewhere in the Northern Territory, six lost souls act out a distant tragedy of social breakdown. Only it’s not the same night. Although separated by distance and time, the stories of Grace, Anni, Constable Stephen Collins, Emma, Craig and Joseph collide in a single space to explore the idea that we are all responsible for each other’s lives.

“The way the story unfolds is really compelling,” says Cameron Stewart, in the role of Craig, a senior police officer who has crossed an ethical line. “The characters interact in the same space over a three month period, so while two characters are interacting, the other characters are in the space at a different time. It’s really interesting way of visually presenting the way the stories intertwine and the ripple effects on their lives.”

Stewart believes what’s interesting about the play is the way it explores this ripple effect and the interconnectedness between the characters, feeling it demonstrates how and why we have a responsibility to each other. While he also states the story isn’t suggesting society has lost its ability to empathise, it’s important to be reminded and see situations from someone else’s perspective.

Penned by Angela Betzien and directed by Leticia Caceres, founders of Queensland company, Real TV, the play also examines how people deal with tough circumstances. In particular, Stewart’s character is offered a chance at redemption. But will he take it?

“He [Craig] represents how people can so easily slip to the dark side and suddenly find themselves doing things they would never have imagined.”

Despite the dark subject matter Stewart says The Dark Room is surprisingly funny. As a result, the cast, which includes Brendan Cowell (pictured) and Leah Purcell, are having a lot of fun in the challenging process of finding the, “nuts and bolts of the play.”

So what does Stewart want audiences to come away with?

“I think audiences will be really intrigued by the way the stories unfurl and intertwine. I think people will talk about the intricacies of storytelling, and that will lead to deeper thinking about the themes.”

Until Dec 11, Belvoir St Theatre, 25 Belvoir St, Surry Hills, $32-42, 9699 3444, belvoir.com.au

M is a prostitute with a heart of gold. On her 25^th Birthday not only does she spend her day looking after the needs of clients, such as Father Phillip, the priest who has lost faith, but also providing comfort to her colleagues, Lily and Cindy, who are facing their own struggles with their no-nonsense madam, Scarlet. Then Joey, a sweet but bumbling young man, knocks on her door and shows M hope is never lost for dreams to come true. Birthday strives to explore life’s big universal themes – God, religion, sex and lost love – with the premise that intimacy can be discovered in the most surprising places. While it captures the realities of these very human struggles at times, this is overwhelmed by clichéd character arcs, a contrived plot, amateurish acting and a sluggish pace. Perhaps it should’ve been a TV movie rather than a film for the big screen. (MP) **

You can see why The Chronic Ills of Robert Zimmerman AKA BOB DYLAN (A LIE) – a theatrical talking blues and glissendorf had a sold out run at the Old Fitzroy earlier this year and received critical acclaim at the time as, “A fantastically engaging hour of off the wall theatrical comedy.” Revived this month for the annual Best of Independent Theatre (BITE) it hasn’t strayed from this path. Using everything from monologue, wordplay, song and slapstick, the play recounts the birth of Bob Dylan and his subsequent journey into making art and music with cultural icons like Joan Baez, John Lennon and Johnny Cash. But as the incarnate of the man himself states in the opening lines: “None of it’s true, but it is indeed the truth,” and this cryptically alludes to Dylan’s renowned illusive, storytelling nature. While the play doesn’t enlighten or reveal anything new about its subject and loses the thread of its rapid-fire word rhythm at times, what makes Chronic Ills a unique theatre experience lies with its eclectic structure and the zest to which the performers execute it. Lines and songs are mostly delivered with deadpan confidence, making it a humourous, absurdist romp.

Oct 20–Nov 6, Seymour Centre, cnr Cleveland St & City Rd, Chippendale, $24-28, 9351 7940, seymourcentre.com

When 19 year-old Francoise Sagan shot to fame in 1954 with her debut novel, Bonjour Tristesse (Hello Sadness), she became the quintessential enfant terrible or as one publication dubbed her at the time, “Charming little monster.” Suddenly swept up in the excesses of Parisian artistic life, Sagan drank, gambled, crashed cars and took numerous lovers. This recklessness created a legacy that remained for her entire life. Despite continual success as a novelist and later, as a playwright and screenwriter, she developed addictions to various illicit and prescription drugs that led to what she penned at the end of her life as true sadness, “Living without love, with no one to hold you back.” While this biopic never delves too far below the surface to explore and solve Sagan’s psychological complexities and is in no way a cautionary tale of the trappings of fame and addiction, it strikes the right balance between restraint and sentimental reflection to provide a fascinating and moving depiction of how a remarkable talent slowly succumbed to darkness and decay (MP).

“I’m not goin’ anywhere. I’m staying right here,” whispers Eddie in his southern drawl to May, who sits silently at the end of a dishevelled bed. But no sooner has he spoken these words, he rises to leave. May lurches forward and clings to his legs only to aggressively push him away. This opening scene not only illustrates how this relationship operates but also what’s about to go down in this seedy motel room. A pattern of seduction, sex and violence; of appearing and disappearing will reoccur and intensify to the point of chaos.  This is all delivered with class. Emma Jackson plays the oscillating complexities of the scorned yet vulnerable May with ease and conviction, while Justin Stewart Cotta imbues Eddie with the right level of sleaze and crazy-eye venom. Terry Serio, perched above the stage, is the perfect poetic device by acting as gateway to fantasy and memory for each character along with amplifying their emotional beats with country tunes from his guitar. Although this is enough to get you engaged, the performance doesn’t consistently captivate. It seems to lose its magic in the lighter parts of Sam Shepard’s mainly relentless script, failing to maximise the humour in some of the banter. These quieter moments also reveal the lack of chemistry and tension between the leads, lessening the emotional investment in the outcome. Despite this, Fool For Love is worth seeing as the provocative themes, which explore the warped legacies of obsession and addiction, create several beautiful dramatic moments that really invoke the sadness of a life wasted on a person who doesn’t truly know how to love.

Until Oct 24, Belvoir St Theatre, 25 Belvoir St, Surry Hills, $24–32, 9699 3444, belvoir.com.au

“Have you ever been in a really, really, really, really, really, really, really toxic relationship?” asks Justin Stewart Cotta. He plays Eddie in Fool for Love, a production on the cusp of debut at Belvoir St from the direction of the NIDA-trained, Imara Savage. Set in real time, on-again, off-again lovers, Eddie and May are holed up in a seedy, desert motel. Written by Sam Shepard, renowned for confrontational creativity, this set-up is not intended for romantic bliss. Told in a relentless, yet rhythmic pace that remains faithful to the original text, each character goes on the attack when ugly aspects of the relationship are exposed. “It’s a quite a surreal play” says Emma Jackson, in the role of May. “There’s a real fantasy element to it, that we’re exploring with different elements, of music, and movement.” Stewart Cotta further adds that as the story is set to the backdrop of Middle America, the fantasy version of America, this allows for an exploration of ‘all these inconsistencies between dreams and realities with the characters…” The only major departure from the realistic setting of the play is the dynamics of space. Although the staging loses sound effects intended for amplification of emotion, Stewart Cotta believes the claustrophobic nature of the Downstairs Theatre makes up for it. “That’s the beauty of the space,” says Jackson. “To put a play like this, which is extremely explosive, and shouldn’t be polite in any way, shape or form, in a space like that is really quite confronting and exhilarating at the same time – I hope.”

Sep 30-Oct 24, Belvoir St Downstairs, 25 Belvoir St, Surry Hills, $24–32, 9699 3444, belvoir.com.au

‘Big dreams and humbling reality’ is how L.W. Major describes the journey of recording his debut album, Where the Hits the Trains. I’m sure this is no overstatement for the Sydney-based musician who not only wrote all nine songs, but also independently tackled the arduous task of recording them. But it’s a good thing Major has big dreams and what seems to be a romantic approach to the creative process. After overcoming the obstacles in using the recording equipment, he found ‘harmony and beauty to the experience’, along with joy in the many discoveries, such as sounds snare brushes make on biscuit tins and scrap paper for the percussion. These efforts offer results beyond his aim to create a laid-back album. The title track certainly kicks this off. It’s an instrumental with a contemplative mood and quiet, deliberate rhythm that feels like the steady roll of a moving train. But the faster-paced Shining Days, the story of an ongoing, uncomplicated tryst; A Bigger Picture, a deliberation on fate and the last track – Sally, another instrumental capturing the pleasure and pain of love, invoke something deeper than he intended. While variations of the same picking pattern appear in each song, sounding repetitive at times, his intricate and melodic technique along with his simple, direct words create a mood of melancholic reflection, which feels magical due to the emotions stirred. Although a self-defined Indie artist, Major also seems strongly influenced by folk, channelling the style from its heyday where a poet was armed with a guitar and told stories through a seamless fusion of lyric and sound. Download the full album @ www.myspace.com/lancewilliammajor

****

Katie Noonan

Looking for a way to break out from your winter hibernation? Well, the Jazz Visions Festival may just be the thing. As there are few music festivals this time of year, it’s a great opportunity to attend the launch of an event where the musical ‘vision’ is to promote lead jazz artists and improvisers in either new or collaborative settings. The event has been organised by SIMA (Sydney Improvised Music Association), a non-profit association first established in 1984 to address the lack of performance opportunities for contemporary jazz artists. Held over seven nights at three venues – two live performances and a film screening on opening night at Colbourne Avenue, two headliner nights at The Everest Theatre, and then five nights at The Sound Lounge – the festival will consist of two bands each night playing one hour sets. These will be made up with local, interstate and international musicians, ranging from the highly acclaimed, Chris Abrahams of The Necks in duo with USA saxophonist Phillip Johnston, to the high profile with Katie Noonan singing from her new CD, Emperor’s Box with Cameron Deyell; to the legendary with USA tenor sax player, George Garzone jamming with the Mike Nock Trio. You may be wondering why Sydney needs a jazz festival? And what will it sound like?

“Jazz is a form of improvised music that in most of its variants has some structure. In origin, it’s American and has a long tradition of its own, but these days it is an art form that’s international,” says Gordana Raketic, SIMA’s Program Co-ordinator. However, Raketic explains festivals weren’t organised to compensate for an absence of performance opportunities throughout the year, but rather existed to highlight the various aspects of an art form in a particular timeframe.

“Some projects are better performed within a festival context than in a club venue,” agrees Peter Rechniewski, Jazz Visions Artistic Director. “Second, such a concentrated set of performances makes it easier give jazz and improvised music a bigger profile. There isn’t an absence of jazz in Sydney but the jazz scene has suffered disproportionately from the makeover of pubs into gambling venues rather than the site of music entertainment and from the restrictive licensing laws that apply in NSW.”

Whatever the approach, SIMA wants audiences to be stimulated, engaged, challenged, entertained and inspired. As they also hope people will sample as many groups as possible, they have created a festival pass to maximise value. “We want Jazz Visions to be a meeting point for audience and creative musician. One way to encourage people to check out music they are ignorant to or which they are resistant, is to attract them with a familiar name doing something different and hope they discover another side to that artist,” says Rechniewski.

“Many people know Katie [Noonan] from the band ‘George’ but we have Katie doing an entirely different but very accessible project on a multi-bill that includes one of the world’s best saxophone players.”

Aug 12–21, The Sound Lounge & Everest Theatre, Seymour Centre & Colbourne Avenue, Glebe, $15-25, 9351 7940, sima.org.au