Time Stands Still

At the moment a photo is taken, time stands still for its subject and its taker. Writing about that takes longer to “capture.” To dramatize the subject of the progress of relationship of a couple -- a photographer and writer -- takes Donald Margulies two effective acts of Time Stands Still that shoot past and present toward their future.

Sarah and James have long been in love, working together enduring and recording dangers and harsh realities worldwide. But having left Iraq short of a breakdown, James has been writing about horror movies in the comfort of their Brooklyn pad. Now he’s a bit guilty welcoming her back on a crutch, with a sling, and scarred from a car bomb, but with photos and gear intact. Also memories of an Iraqi “fixer” she had an affair with before he was killed. Despite James’ solicitations, Sarah’s grumpy about their both being “out of action” and his complacency about that.

James drinking when not glued to horrors on his computer and Sarah being off cigarettes seem bad to her, but a visit from editor and close friend Richard made things worse. Exuberant about leaving a Nazi-like woman, he introduced young, bubbly Mandy, hot for, and to, him, soon to be pregnant and his bride. He also held out hope of publishing James’ story to go along with Sarah’s pictures. Of course, Richard’s job is “just photo editor.” Suspense.

Contrasts between the couples heighten the drama’s complications. Richard and Mandy are preciously in love; James questions the depth of Sarah’s, even after she’s given in to marrying him. Mandy, naturally sociable, was a planner of social events, unlike those of “war, famine, genocide” on which Sarah thrived.

That values are at polar opposites becomes clear after Mandy wonders how anyone can record atrocities at moments when they might be interrupted instead. And why do the journalists, “with all the beauty in the world...only see misery?” she asks. Sarah believes they must record life, not stage it. But on where that life should be, she and James become as dissonant as their views on being a family.

Time Stands Still presents issues of coping vs. control, ambition vs. addiction, relating vs. exploiting realities, enjoying comfort for personal satisfaction vs. eschewing it for public accclaim, sexual and professional liaison vs. love and family togetherness. What the play lacks a bit in craft the drama makes up for in complexity that prompts thought after the curtain call.

Katherine Michelle Tanner’s arresting Sarah has intensity to match battlefield action. Jim Sorensen manages the difficult balance of growing seriousness while increasing James’ enjoyment of “letting up” and comfort. Chelsea Gonzalez may be lighthearted as Mandy, but she’s clearly more sensible and important than lightheaded. Tom Aposporos makes Richard her ideal supportive mate and James’ affecting foil.

Don Walker’s direction, as uncluttered as Sarah and James’ apartment, never breaks mood. All the technical work is well focused, like Sarah’s camera at the finale.