Review: 'Time Stand Still'

TheatreWorks presents…..

TIME STANDS STILL

By

Donald Margulies

Directed by Leslie Martinson

Starring Rebecca Dines, Mark Anderson Phillips, Rolf Saxon & Sarah Moser

Your only obligation in any lifetime

Is to be true to yourself. Richard Bach

This is a play about finding out who you really are.  “One of our greatest contemporary dramatists, Donald Margulies is a photojournalist of our lives, gifted with an extraordinary lens,” says TheatreWorks Artistic Director Robert Kelly.

In Time Stands Still, Margulies examines the conflict we all face in sorting out what we need to be as human beings and what we are actually doing with our lives.  Although the plot weaves many themes together, that of career, marriage, human need, and our obligation to ourselves and to society, the real story is the juxtaposition of the relationships of the two couples we see on stage.  The play “is very much about the choices and compromises we all make ---in love, in work, and particular to this play, in war,” says Margulies.  “Ethical struggles touch on all aspects of life.” 

 Rebecca Dines is Sarah, a photojournalist severely injured while recording the terror and slaughter in Iraq.  We meet her when her lover Jamie (Mark Anderson Phillips) is bringing her home, her leg and arm broken and her body a mass of abrasions.  Jamie went to a hospital in Germany to be with her as she fought for her life. “I had my fifteen minutes (to become famous)  and I spent it unconscious,” she says. 

As she contemplates her career and her need to return to it, she says, “I live off the suffering of strangers.”

Jamie counters with, “You help them in ways you can’t see,” but the truth is that Sarah gets far more out being in the midst of combat than a good picture.  She is addicted to the danger and feeds off the violence she captures on film. ‘The women and men who put themselves in unimaginable situations to capture images and stories…aren’t simply doing it for the public good,” says Margulies.  “Their courage is immense, to be sure, but there is an unmistakable kind of thirst for it as well.”

Jamie is a journalist who uses words to record the horrors that Sarah photographs and he has had enough.  “We don’t have to do this,” he says to Sarah.  “I don’t want to watch children die.  I want to watch them live.” 

The other couple, Richard (Rolf Saxon) and Mandy (Sarah Moser) is in direct contrast to the tormented, battle scarred main characters.  Richard was once Sarah’s lover and employer. He is a newsmagazine photo editor and is instrumental in creating a book of Sarah’s photographs and Jamie’s writing.  He is wildly in love with Mandy now, an idealistic, sweet and unbelievably naïve girl thrust into the company of three hard core liberal realists. Richard excuses her:  “She’s young,” he says but Sarah delivers the final put down”  “There’s young and there’s embryonic.” she says.

Mandy has brought Sarah balloons to cheer her up and she says, “Balloons have an amazing way of making you feel better.”

Although Sarah and Jamie obviously dismiss her as inconsequential, Sarah Moser has given Mandy an exquisite persona the audience cannot help but love.  She is obviously sincere and there is a great deal of wisdom in her innocence.  She tells Sarah, “I’m an event planner,” and Sarah counters with, “I’m in events, too.  War.”

But Mandy refuses to be diminished and she will not allow Sarah to believe her relationship with an older man is nothing but fluff and sex.    “People think I am Richard’s mid-life crisis,” she tells Sarah.  “But it is not that at all.  Whatever it was that brought us together was what brought us together.”

As the action develops, we see that Richard and Mandy have built a solid foundation for their relationship.  It is a fulfilling one for them both without a hint of the sugar-daddy/bimbo infatuation Jamie and Sarah assume created it.   All the actors in this production are superb, but I have to say that Moser and Saxon mesmerized me with the veracity of their portrayals.  They brought their characters to compassionate life without a hint of sentimentality.  When Mandy hears that Sarah has photographed a dying child, she is horrified that the older woman did nothing to help or save that child.  She cannot believe the cynicism she feels in the room and she says, “There is so much beauty in the world.  I wish you’d let yourself feel the joy.  Otherwise what’s the point?”

It might sound trite and it might be a one dimensional sentiment said by anyone else, but Moser transforms her lines into exquisite observations on what we can make of our destiny if we really want to see its potential instead of its loss.  When the two get married and have a baby, Mandy decides to stay home to rear it.  “You make me feel like less of a woman because I want to stay home with my baby,” she tells Sarah and Sarah understands, but she knows that isn’t the life she would choose. 

It is when Jamie sees how happy Richard is that he realizes that he and Sarah can have something more…the happiness, the positive future, the security…if they will but give it a chance.  He tells Sarah: “When a couple has been together as long as we have and has seen what we’ve seen and done what we’ve done, it’s time to call it what it is…a marriage.”

And Sarah agrees…in principle…but she doesn’t take into consideration her own drive to do the thing she loves and her thirst for the action that feeds her. She justifies the value of her work to herself and to Mark.   “If it wasn’t for people like me, the ones with the cameras, who would know?  Who would care?“ she says and he realizes then that the relationship isn’t going to work for him.  “You need drama more than you need me,” he says.

Until the final scene, the plot held together beautifully for me.  Leslie Martinson is a superb director and the movement of the characters, the use of silence, the juxtaposition of innocence and cynicism is masterful.  Erik Flatmo’s scenic designs are right on the mark, accenting the action and never detracting from the action on stage.  Both Dines and Phillips occasionally had trouble convincing me that they were the real thing and often their chemistry on stage disturbed rather than enhanced the action. There was falseness to their intensity that did not ring true.   It was Saxon and Moser who charmed me throughout.  That said, the entire production is a must see on every level.  The script is truly wonderful and TheatreWorks has given us a theatrical masterpiece, beautifully presented. As an ensemble production, it excels. 

Time Stands Still continues through Sept. 16. at the  Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. Tickets  $23-$73.

More information: (650) 463-1960, www.theatreworks.org.