Time Stands Still @ Steppenwolf

Time Stands Still @ Steppenwolf Theatre Co.

The most difficult reviews to write are those regarding pretty perfect productions.

Steppenwolf productions tend to fall into this category; Time Stands Still was no exception.

The script’s thematic elements faced themes head-on. Sarah had to deal with outsiders’ expectation for a photographer to step in & fix the frame of upsetting subject matter. This allowed the understanding to erupt that altering art entirely discredits it & there is a stark difference between photography & photojournalism. The value of this specific art lies largely at presenting authenticity, despite the upsetting nature of what the camera captures. Sarah also poses the question of If It wasn’t for the ones with cameras, who would know? Who would care?

There is a sense of invasion of intimacy of the capturing of these complicated images on permanent & detached film. Sarah’s photos allowed a snap-shot into the private, tragic, distant world of war. This script was similarly structured as a invasive snap-shot into the realistic contemporary detachment in dealing with one’s PTSD & its’ abounding ripple effects. One arising result of Sarah’s homecoming was the experience of feeling like a stranger on your own sofa. Upon coming home, Sarah’s long-time partner James saw their future with 20/20 certainty, which his eyes saw hopefully & excitedly, while Sarah felt a sense of oppression. Re-seeing one’s old world with new eyes that have seen too much is a theme that can be applied to a wider scale of individuals than just those returning from war. There is a sense of empowerment that comes with overcoming the death & adrenaline of real-life tragedy, but it is equally crippling & confusing. The script did a beautiful job of addressing that grayscale kaleidoscope of emotion, action, & reaction.

I love a modern, QUADRANGULAR script:

2 couples [or 4 individuals] + 1 night/central event + the unraveling of characters =

recipe that consistently creates a quality script.

It is a formula that has been successfully applied in plays such as

Who’s Afraid of Virginia Woolf?, Doubt, Proof, God of Carnage, & The Goat, Or Who is Sylvia.

I don’t know if this trend is on its way up, on its’ way out, or a somewhat eternal playwrighting tool, but I am a fan.

 

The Players

As Sarah’s boyfriend Richard Ehrlich, Francis Guinan created a very human character. He was, at times, somewhat vacant & seemed too empty to fill his character’s anger & angst. If this was intentional, it was an interesting approach to apply…being unquestionably devoted to a weathered woman but, at times, having to detach out of self-preservation. His performance was layered, sympathetic, & well-conceived. Randall Newsome played James Dodd & provided a calming anchor of sorts. His role was not the most colorful, but he I have no complaints. Kristina Valada-Viars played Mandy Bloom, Newsome’s young love. She reminded me of Maya Rudolph & I liked that she was costumed in shorts with tights. She offered a cute, chipper charm but was too quick to erupt into emotion. Overall, she was good but not great.

As Sarah Goodwin, Sally Murphy carried the show in a role that is nothing less than a star-carriage. Murphy is an amazingly talented actress who has been an ensemble member at Steppenwolf since 1993. I enjoyed her performance in Sex With Strangers & appreciate her commitment & versatility. I’ve loved Ms. Murphy since her performance as the perfect Julie Jordan in the 1995 Broadway Revival of Carousel. Julie Jordan is a part that is usually played as a wilting daisy…a bright, bubbly blonde who falls in love with a guy from the wrong side of the tracks but makes the best of it. To swing the pendulum, this role could also be textually defined as the disintegration of a young woman’s life & hope from an abusive relationship. She incorporated both elements to her portrayal & played the Julie Jordan we have all been waiting for. She applied to same insightful skill to the portrayal of this heavy character.