We all have bad days. But in Marsha Norman’s 1983 Pulitzer Prize-winning drama “’Night, Mother” — now being staged by P.T.D. Productions — a middle-aged, divorced, dowdy mother who suffers from epilepsy determines that she’s having a bad life, and that things will never improve.

So while doing menial household tasks, Jessie coolly announces to her mother (with whom Jessie lives), near the play’s beginning, that she plans to commit suicide that evening. This causes the two to have a brutally honest, difficult discussion about their relationship, their choices, and who they really are.

“Even just reading the script, or seeing a scene from the play done … in a bare, black box theater was undeniably moving,” said director Amanda Grazioli, who was introduced to the play by way of a directing class. “Marsha Norman’s creation of these two women is so true and unapologetic. … When I saw that P.T.D. Productions was looking for a director for (the play), I jumped at the chance.”

The stark, emotionally demanding show depends entirely upon two actresses, so Grazioli had to be discerning in her casting choices. In the end, Alene Blomquist earned the role of Mama, and Darcy MacConnell was cast as Jessie.

“I wanted to cast two women who were willing to take risks, be flexible, and step outside of their comfort zones,” said Grazioli. “Because ‘'Night, Mother’ is a two-hander, done in real-time, it requires very strong connection between the women onstage.”

Here’s a clip of McConnell talking about playing Jessie:

Oscar-winning actress (for “Misery”) Kathy Bates originated the role of Jessie, earning her great acclaim and a Tony Award nomination; while a more recent Broadway revival of "'Night, Mother" starred Edie Falco and Brenda Blethyn and sputtered to a quick close, leaving tepid reviews in its wake.

“From a directorial perspective, a great challenge is the fact that the play is truly one long conversation,” said Grazioli. “Regardless of how immensely important the conversation is, it takes a lot of care to ensure that the play … doesn’t stagnate. … I have been coaching the actresses to really listen to each other and connect onstage. Genuine human emotion is drama. We should be able to hear a pin drop at any point during this piece.”

Of course, it’s hard to think of anything more high-stakes in a drama than a pronounced intention to commit suicide in a matter of hours. And while Grazioli acknowledges that this certainly sets the play’s wheels in motion, “the real heart of the story is in the high-stakes struggle in which these two women engage, and the exploration of matters never before discussed until this eleventh hour conversation they share,” Grazioli said. “The core of the relationship is something that, on some level, is familiar in some way. This could happen to any family on any street in any town. I hope that the audience will walk away with a greater desire to open their hearts to the ones that they love … before it’s too late.”

Here’s a clip of Grazioli talking about her experience with directing the show:

Jenn McKee is the entertainment digital journalist for AnnArbor.com. Reach her at jennmckee@annarbor.com or 734-623-2546, and follow her on Twitter @jennmckee.