Donald Margulies’ “Time Stands Still” depicts a wartime photojournalist’s struggle to choose the bigger, dangerous world of her subjects or the smaller, tamer one of the people closest to her.
The production conveys all of the difficult questions Margulies’ play raises, but struggles to capture the complexity of ambiguous protagonist Sara, leaving the audience confused about her motives.
After nearly dying in a roadside explosion, photojournalist Sara’s boyfriend, James, travels to Iraq to bring her home. Shocked and ashamed that he wasn’t there for her, James desperately tries to convince Sara not to go back when she recovers.
The two fail to see eye-to-eye; Sara perceives the accident as no more than an occupational hazard. James helps Sara through her recovery, but cannot change her mind.
The play asks viewers to contemplate if Sara is more responsible for the people whom her photography helps by keeping the world informed, or for her loved ones who nurse her to health even as she prepares to go back into the maelstrom.
The story could easily come off as blunt or preachy. Fortunately, the plot shows no signs of a political agenda. Rather, the playwright illustrates the conflicting responsibilities through multiple viewpoints on Sara’s accident and how those closest to her think it should shape her future.
James fears for Sara’s life, as does her editor and friend, Richard. But perhaps the most interesting perspective is that of Richard’s young new girlfriend, Mandy, whom Sara first derides as “embryonic.”
Mandy confronts Sara, asking her why she only takes pictures of suffering, why the most disturbing sights in the world are any more important than the most beautiful. Sara has no real answer.
In fact, the play is most sharply defined by the moments when Sara says nothing in her defense. When James accuses her of being addicted to the chaos, she simply denies it. Throughout the play, Sara insists her photos make a difference and are self-justified, yet her doubts about this become increasingly clear.
Taunya Crilly captures Sara’s overriding need for purpose, a need to go back to Iraq that she can’t entirely articulate but refuses to betray. Richard Boehler plays James with simplicity and truth, depicting a man caught between equally massive dreams and fears.
Matt Heath’s direction is even-handed and concise, but ultimately leaves something to be desired. There are no huge missteps, yet there are moments in the play as written that seem to offer more insight into Sara‘s character. These moments, which seem crucial to the story and cry out for detail, are left feeling vague and unfinished.
Because we never come to understand Sara, for better or worse, the ending seems mysterious. Even as the play ends, and the questions it asks linger, you can’t help but feel that you missed something the playwright intended for you to hear.
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“Time Stands Still”
By Donald Margulies
Adobe Theatre
9813 Fourth St. N.W.
Fridays, Saturdays 8 p.m.
Sundays 2 p.m.
Runs through Oct. 9th
general admission $15
students and seniors $13
Adobetheater.org
