Month: May 2014
“Time Stands Still focuses on Sarah and James, a photojournalist and a foreign correspondent trying to find happiness in a world that seems to have gone crazy. Theirs is a partnership based on telling the toughest stories, and together making a difference. But when their own story takes a sudden turn, the adventurous couple confronts the prospect of a more conventional life.”
Get your tickets online here.
Tickets also available at the door.
The Director’s comments on Time Stands Still
I’ve been a fan of Margulies’ plays for many years and am excited to finally direct one.
When I first read Time Stands Still it “knocked me out.” It’s a serious play, but at times it is very funny.
The play raises questions, but provides no answers. I’m interested in these types of plays.
The four characters are interesting people. Our impressions of them change over the course of the action. The characters contrast with one another as individuals. Also, the two couples contrast with one another.
To me, the play is a domestic love story. At the first rehearsal, I told the cast we’ll focus on the love and let other things in the play take care of themselves.
There are references to things associated with the war in Iraq but it is not
“an Iraq play.” War is the backdrop for what is essentially a domestic love story . . .
Time Stands Still is very much about the choices and compromises we all make — in love, in work, and particular to his play, war, Ethical struggles touch on all aspects of life.
The play was commissioned and given its world premiere by the Geffen Playhouse in Los Angeles in 2009. – RL
The play was produced by the Manhattan Theatre Club in New York City in early 2010. This is the link to Playwright Donald Margulies on Time Stands Still He talks about the production at the Manhattan Theatre Club. It runs 8:29 minutes.- RL
This production opened on Broadway in October 2010. – RL
Comments from reviews of the New York City production.
“Although Time Stands Still is deceptively modest, consisting of a handful of conversations among just four characters, the range of feeling it explores is wide and deep. ” New York Times
“A rare play that encompasses universal issues and personal problems with equal compassionate insight.” Bloomberg News
This is the link to Time Stands Still Returns to Broadway. It runs 3:13 minutes. The actors talk about the play. – RL
His best known plays are Collected Stories and Dinner With Friends which won the Pulitzer Prize for Drama. There have been productions of both in the mid-valley area.
Margulies is Jewish and in some plays he writes about what it means to be Jewish in contemporary society.
Margulies considers himself to be a playwright who happens to be Jewish.
Click here to go to a Q & A with the author of “Time Stands Still” in an article published in The Economist.
Auditions for Rabbit Hole, A Shayna Maidel and Sylvia take place on the second floor of the Majestic Theater Monday May 12th and Tuesday May 13th beginning at 7:30 PM. Report to the rehearsal room first. After some introductions we will split up and some will move to the classroom. If we get a large crowd we may also use the south lobby on the first floor. Time Stands Still, our May production is rehearsing in the Community Room.
Scripts for these three plays are available for checkout at the Majestic business office. If you have checked out a script and have held it for a week or more, please return it so that others can have a chance.
Rehearsal dates and times are set by the directors. Typically there are five or four rehearsals over a month’s time followed by two technical rehearsals at the Majestic the week of the performance and two performances on the last Sunday of the month.
Here is what the directors are looking for.
Rabbit Hole directed by Judy Gordon, Performance June 29
Four-year-old, Danny, was killed in a car accident 8 months before the play begins. Rabbit Hole is a gentle play that is not a comedy nor a tragedy, but rather a tribute to the resiliency of human nature. While the play is set in New York, we will not be using accents.
Becca: late thirties/early forties. Mother of Danny. Becca gave up her job to become a stay-at-home mom. Before his death, Danny was the center of her universe. After his death, Becca finds herself suddenly without a focus. Through the course of the play, Becca goes through all the different emotional stages of grief, but prefers to grieve privately. She is orderly, organized and likes things in their proper place. Must be able to tear up and cry (or at least fake it well.)
Izzy: early thirties, Becca’s younger sister. Izzy is passionate, engaged in living life to its fullest and just starting to find her feet in the world. Izzy used to be the “screw-up” following in the footsteps of her perfect older sister. But Danny’s death has changed things — her sister no longer has a perfect life.
Howie: late thirties/early forties. Becca’s husband and father of Danny. In his grief, Howie reaches out only to find his wife unavailable. He searches for other sources of comfort and transitions through most of the emotional stages of grieving. Howie starts the play a little further along in the grieving process than Becca, but has to catch up to her in the end.
Nat: mid-sixties. Becca and Izzy’s mother. Nat provides some comic relief, but also has one of the most poignant speeches in the play. A concerned and caring mother, she tries to give Becca the benefit of her experiences. Grieving for the loss of a child is something Nat is familiar with. Nat’s son, Becca and Izzy’s brother, committed suicide eleven years ago.
Jason: Seventeen to eighteen. Jason is a senior in high school and the driver of the car that killed Danny. Struggling to come to terms with his part in Danny’s death, Jason contacts Becca and Howie. Creative, thoughtful and persistent.
A Shayna Maidel directed by Mike Aronson, Performance July 27
Mordechai: Late 60s, Father of Rose and Lusia. Religious, devout, elegant. Very old Europe. The hub of the family wheel. He represses any emotions which would betray weakness or vulnerability. This does not mean he doesn’t feel them.
Rose: Early to mid 20s. Daughter of Mordechai. Sister of Lusia. Assimilated but not ashamed of /or trying to hide her Jewish identity. Very little memory of her childhood in Poland but deeply curious about it.
Lusia: Late 20s to Early 30s. Sister of Rose. Daughter of Mordechai. Very much a stranger in a strange world. Haunted by her past but careful not to let others know. Strong and Stubborn and hopeful. Not self pitying.
Duvid: mid 30s. (younger in memory sequences) Husband of Lusia. For most of the play only appears as a ghost/dream. Funny, Deeply loves Lusia.
Mama: Various ages. Mother of Rose and Lusia. Wife of Mordechai. Generous woman. Appears only as a memory.
Hannah: Lusia’s childhood friend. She ages from 14-late 20s. Only appears in Lusia’s memory.
NOTE: Each of the actors with the exception of Rose must be able to sustain a Yiddish accent for various periods of time. Mordechai and Luisa must sustain it for the entire play. Duvid, Mama and Hannah must be able to sustain it for shorter periods of time.
Sylvia directed by Johanna Spencer, August 31
Sylvia: a dog played by a woman. Good comedic timing and improv skills necessary. Fun role, must be comfortable with crotch sniffing and language.
GREG: A middle-aged man married to Kate. Professional New Yorker near retirement and new owner of Sylvia.
Kate : a middle-aged, college educated woman who, with her kids finally out of the house, is excited and ready to finally be able to focus on her marriage and her own career in academia.
Tom/Phyllis/Leslie: All roles to be played by one actor, Tom (a man) is a fellow dog owner whom Greg meets at the park, Phyllis (a woman) is a college friend of Kate, Leslie (of unknown gender) is a counselor.