Perched atop a ladder, his hardhat glinting under the spotlight, steel worker Mike Dillard (Michael A. Barron ’11) confesses, “Non-recognition by other people, it bothers you sometimes.” The steelworker’s powerful monologue is the first of many in “Working: The Musical,” written by Stephen Schwartz—the composer of “Wicked” and “Godspell”—and various other artists.

Based on the book “Working” by Studs Terkel, the musical captures the reflections of 26 very different American workers—all of whom eloquently express insecurities, dreams deferred, and a search for identity beyond job titles. Under the inventive direction of Brandon J. Ortiz ’12, “Working” combines imaginative technical elements with realistic portrayals of laborers and their poignant songs, illuminating an often-forgotten facet of American life.

“Working”—which runs through April 10—fits well in the modest Loeb Experimental Theater venue. The musical makes creative use of the entire space: workers hammer against the metal grid overhead in the percussive opening and perform monologues from the theater’s wrap-around balconies.

Even the band members—adorned by costume designer Meryl F. Natow ’13 in hard hats and flannel shirts—play in raised cubicles. The small space does not inhibit the actors, but instead allows them to interact closely with the audience, making their characters seem all the more human and believable.

Stark lighting accentuates the confessions of the workers against the minimalist but functional set, pushing actors to intimately reveal their hardships in a way that elaborate stagecraft might have inhibited. Ortiz’s resourceful use of the space and careful showcasing of his actors’ talents help to maintain a swift pace throughout the production, as he unwaveringly focuses on the laborers’ struggles. Especially considering this is his first directorial effort, Ortiz exhibits confidence and ease in his work.

The choreography—by Ryan P. Halprin ’12—also reflects the creative use of the stage. A musical number that takes place in a supermarket, “I’m Just Movin’,” highlights this careful attention to detail. Grocery checker Babe Secoli (Nicole I. Torres ’11) explains her repetitive work, demonstrating the “hips, hand, and register” technique as she handles groceries. Suddenly, each mundane movement begins to fall into rhythm until her work transforms into a dance, with groceries flying flawlessly across the stage from cart to bag.

Though “I’m Just Movin’” is lighthearted, the number segues into weighty issues. Grocery bagger Roberto Nuñez (Joe J. Vitti ’10) reminisces on his life as an immigrant child, picking the crops that “ended up in that fine salad” of his complaining customer. His Spanish musical number “Un Mejor Dia Vendra” portrays Nuñez’s struggle with American identity honestly and sensitively.

“Just a Housewife”—one of the most engaging and effective musical numbers in the production—tells the story of housewife Kate Rushton (charmingly portrayed by Annie J. Mitran ’13). Mitran plays Kate with a moving vocal performance. Shameful of the stereotypes of the housewife, Mitran says, “All I am is someone’s mother; all I am is someone’s wife.” Despite the judgment of others over her lack of a career, Mitran ends her song with pride, declaring, “What I choose to do may be dumb to you, but not to me.”

Rheeqrheeq A. Chainey ’11 gives a particularly unique performance in the musical number “Brother Trucker.” Slouched in her imaginary big rig, Chainey reflects on the open road with a sharp sense of humor.

The band’s jazzy accompaniment of Chainey’s soulful voice adds a funk that brings forth her sassy truck driver attitude. Conducted by Mark R. Parker ’12, the band does not overpower, but instead complements the vocal performances.

Chainey ends her drive at a café, introducing a waitress with real flair: Dolores Dante (Kyla N. Haggerty ’13). In “It’s an Art,” Haggerty sings, “Waitressing is like performing; it’s intoxicating,” as she dances with flourish from customer to customer. Haggerty shows that performers work on the most unexpected of stages, even with trays of food in hand.

The cast of “Working” fittingly pays tribute to one of its production sponsors, the Harvard Union of Clerical and Technical Workers. In “Cleaning Woman,” the actresses are donned in crimson smocks displaying the Harvard Facilities Maintenance Operations seal. Led by maid Maggie Holmes (Paige E. Martin ’11), “Cleaning Woman” presents an optimism lacking in earlier monologues as Martin sings of her hopes for her daughter and the future of a whole new generation.

The intertwined lives of the characters unite in the final number, “Something to Point To,” as the workers band together in their desire for recognition. They celebrate the neighbor who can never quite pay the bills, the janitor who stays in the office long after the boss leaves, and the workers who are never recognized for their labor but keep the country running each day. For their stark depiction of humanity, the cast and staff of “Working” deserve praise.