Displaying items by tag: Donald Margulies

Buffalo Theatre Ensemble presented a two act play at the McIninch Art Center in Glen Ellyn titled Time Stands Still this past weekend and I was fortunate enough to see the opening night performance. The entire play is set in a Brooklyn loft apartment that really serves well in creating a New York feel. The cast is power packed though small as four actors take on the roles of two couples in this story that mostly centers around the pair living in the loft though the other couple is still strongly placed in the story line.

As the story is described, Sarah, a photo journalist, is recovering in the Brooklyn apartment she shares with her foreign correspondent boyfriend James after being injured by a roadside bomb while covering the Iraq war. When they receive a visit from their photo editor friend Richard and his young new girlfriend Mandy, it forces Sarah and James to re-examine their relationship, and address the ethics of journalism in a world torn by conflict and suffering.

Times Stand Still is powerful and comes with acting is of very high caliber, each actor as impressive as the next. I never actually felt like I was watching actors, which in itself is testament to the players’ convincing performances. This play provides four very believable characters, and all decidedly different. It is also thought-provoking a play that prompts some very interesting conversations going on during the intermission. Written by Donald Margulies with Connie Canaday Howard serving as the production and artistic director, Time Stands Still is well-produced in every way. College of DuPage alumni Chris Kriz handles the play’s original music as sound composer and designer while Michael W. Moon does a fantastic job with scenic design, and Claire Chrzan with lighting design.

The central character, if you could say there was one, was Sarah Goodwin, played by Lisa Dawn, who has done work with BTE before. I found her character the most controversial in many ways. Having said that, the audience may have disagreed. In talking to, and overhearing, audience members afterward it appeared many had differences of opinions, the play encouraging some good conversation – always the mark of a good script.

Amanda Raudabaugh, played by Mandy Bloom, is also a provocative character. She is the new wife of Richard Ehrlich, played by another BTE veteran, Kurt Naebig. Brad Lawrence played James Dodd, who was the other half of the couple with Goodwin.

I don’t think two people could walk away with the same description of what they took from this play. Personal and moral values are questioned by the characters in the cast, as well as the audience. There are also some light-hearted moments, though the subject matter was anything but light. The story really makes you think and really puts into question your own thinking. How would you handle yourself if you were put in the position of the central character?

If you are looking for something light and funny, check out another play. If you do enjoy pondering over real issues, get yourself a ticket. Actually, go see it for yourself. Not everyone is going to walk away with the same perspective of this engaging story. The talented Buffalo Theater Ensemble does yet another a great job with this one. Time Stands Still show will be at The MAC on the grounds of the College of DuPage until March 4th and comes highly recommend. It just might make you think.

For more info on this play visit http://www.atthemac.org/.

Well-to-do friends clashing over hidden resentments and jealousies while dining is a common scenario in the contemporary American theatre. Donald Margulies won the Pulitzer Prize for Drama in 2000 for Dinner with Friends, which focused on romantic entanglements, and Ayad Akhtar won in 2013 for Disgraced, which also addressed issues of Islam-inspired and anti-Islamic prejudice. To wrap up a year of smash-hits, the 16th Street Theater is producing the world premiere of A. Zell Williams’s Carroll Gardens, a “comedy” of the same genre which is about an interracial childhood friendship in working-class Stockton, and how it changes when one of the parties becomes a New York creative professional. Williams commented that theatre is bereft of the experience of today’s young African-Americans, and perhaps in an attempt to compensate for not seeing his concerns addressed elsewhere, he overloads his play with plot points, and exposition. However, he also has a very strong director in Ann Filmer, the 16th Street Theater’s artistic director, and a more than capable cast.

The story begins in 1993, when Davis (played as a child by Davu Smith) is visiting the home of Robby (played as a child by Rowan Moxley) for the first time. Robby is new to town and doesn’t have many friends yet, but he just made one in Davis by beating up his bully. Davis isn’t sure what to make of Robby: though they are only ten, Robby’s deceased mother forced him to read Howard Zinn’s A People’s History of the United States and he uses terms such as “cultural appropriation,” yet Robby, who is white, totally fails to recognize what the other kids mean by calling Davis an “oreo” and thinks ending feuds is as simple as telling his adversaries he doesn’t feel like fighting anymore. Still, they bond by introducing each other to Nirvana and The Coup, and though Davis is bemused by Robby, they genuinely like each other.

Flash forward to Davis’s thirtieth birthday, and things are no longer so warm. Davis (Gregory Geffard) hasn’t responded to any of Robby’s attempts to contact him in years, and Robby (Andy Lutz) mostly stopped trying until right before announcing that he will be visiting Davis’s new apartment in Carroll Gardens, Brooklyn. While Davis is now an up-and-coming screenwriter, Robby still dresses like a teenager, apparently has no occupation other than selling weed, and still spouts leftist dogma. Davis’s girlfriend, image-conscious Pilates instructor Quinlan (Alex Fisher), does not care for Robby’s uncouthness, and Davis is getting irritated with him, too, when a confluence of events reminds him of how strangled he feels by the upper-class liberalism, trendiness, and materialism of his new environment. Quinlan genuinely loves him, and Robby’s jealous interference in their lives prompts more than just a culture clash, but on the eve of his total transition into adulthood, Davis is forced to ask himself what he truly wants.

There is another couple present who Davis and Quinlan are friends with. Deepti (Minita Gandhi, Leena Kurishingal later in the run) is an Indian-American OB-GYN and the kind of person who thinks declaring “you can tell that injera bread was created to go with lambs raised on African grass” could be anything other than obnoxious. Her boyfriend and Davis’s director, Jamie (Brian J. Hurst), is a politically correct conscious-raising-type who somehow manages to say something casually racist with every breath, and Davis suspects he has outgrown him, too. Williams has drawn his characters in great detail, and Filmer chose well in casting actors who pick up all the details he supplies them with. As the child Davis, Smith’s incredulity at Moxley’s Robby is adorable, and as the adult Robby, Lutz’s clumsy attempts to get along with Quinlan’s Fisher are hilariously uncomfortable.

The problem with Carroll Gardens is that Williams creates too many complications. Davis must not only decide whether it is possible to continue his relationship with Robby, but also whether he wants to continue on with Quinlan and Brian, all for different reasons. While it is understandable for Williams to want to put him under pressure, the defining traits of each character are hammered on a few too many times. Carroll Gardens does, however, have two saving graces. The first is that, in Geffard’s hands, Davis does not come across as weak, but as disillusioned and somewhat disappointed. The script’s other strength is that Quinlan is a fully-developed, sympathetic character, who has her own concerns about their new lifestyle. Fisher captures a great deal of conflict and nuance in her performance, and is able to wrest an equal position in the play to Geffard and Lutz. Joanna Iwanicka has supplied the 16th St with another fine, naturalistic set, which, with just a few touches, suggests a converted space being occupied by people whose income is being almost entirely eaten up by their rent. Would that Williams had left just a few more details to his other collaborators, but what he has written is respectable, and the inaugural production is an ideal telling of the story.

Recommended

Playing through October 15 at the 16th Street Theater, 6420 16th Street, Berwyn, Illinois. Running time is two hours and ten minutes with one intermission. Tickets are $20, with discounts for Berwyn residents and groups. Free parking is provided in the lot at 16th and Gunderson.