by Donald Marguiles

SHAKESPEARE AND COMPANY

September 13 - October 13, 2019

Photos by Emma Rothenberg-Ware

“I remember seeing this play in New York City when it was first produced about a decade ago and, although I knew it was a good, thoughtful play about important issues of our time, I was not expecting to be riveted when seeing it again. However, I am happy to report that Time Stands Still is as relevant now as it was then, and that the Shakespeare and Company production is superb. It achieves a sense of intimacy with the audience that I have rarely seen; you feel as if you are actually in this small apartment with these four actors, who seem born to play these roles. The tension that builds as the play unfolds is at times unbearable, mostly because these actors are absolutely authentic in their roles and in their ability to convey the gravity of what is happening. There is not a single misstep. Every detail — the inflections in their speech, the way Sarah falls when she is not yet able to stand on her own, the expressions on their faces as they dig in their heels — seems spontaneous and true. Much of this must be credited to the amazing direction by Nicole Ricciardi, who has created, out of Margulies’ sentences, a situation that becomes powerfully real.” - Roberta Silman, THE ARTS FUSE

“A brilliant production…the cast on stage in Lenox is incredible, each one perfect in character look, sound and feel. There is a seamlessness in their playing that gives a definite impression that we aren't watching actors, we are witnessing real people in crisis who just happen to be exposed to our view through some telepathic miracle. This is unusual, to say the least, and it pulls out of us a sympathy that might not otherwise exist. Some of this feeling is the actors, naturally, but much of the credit must be shared between the playwright and the director Nicole Ricciardi. Everything we watch on stage is so believable with dialogue that is perfect for the people of the play. Clothing, movement, visible connections and altercations happen generically. Nothing is forced or wrong about this performance; not one false note can be found, no "acting" noticed. There are four people in an apartment and somehow the fourth wall has just dissolved leaving them exposed to their neighbors who cannot help eavesdropping on all levels….Director Nicole Ricciardi keeps everything totally real. Hickey, for example, falls several times and the honesty in each accident hurts us as much as it does Sarah. Joseph's angry explosions emerge naturally and their consequences are honest under her supervision. Ricciardi keeps it all as real as real can be…This is one play it doesn't pay to miss. If you love theater - DONT. “ - J. Peter Bergman, BERKSHIRE BRIGHT FOCUS

“The wounds sustained by photojournalist Sarah Goodman lie deep but, as played by Tamara Hickey in director Nicole Ricciardi's finely-tuned, affecting production, they are perceptible.…Margulies' writing is smooth and unaffected. Without grandstanding or preaching. Ricciardi's production follows suit. There is a beautiful sense of moderation and economy on the Bernstein stage. Penetrating, key emotional moments are given their due without melodrama or histrionics.” - Jeffrey Borak, THE BERKSHIRE EAGLE

“Nicole Ricciardi directs with an invisible, assured hand, letting the ensemble establish its balance…a solid, poignant production.” - Dan Dwyer, THE BERKSHIRE EDGE

“An intense and impeccably performed drama…the moral issues are profound, and director Nicole Ricciardi guides her cast well through a script that frequently erupts into argument, both philosophical and domestic.” - Steve Barnes, TIMES UNION

“The four actors are well-cast and embody fully-rounded, complex characters, thanks to their talent, Marguiles’ writing, and Ricciardi’s direction…Ricciardi guides them in such a way that every moment seems natural and unobstructed. In a talk back after the performance, the actors emphasized the specificity of the rehearsals, as they painstakingly followed Marguiles’ score: the beats, the pauses, the silences, and the subtext required to fill them. These are trademarks of Ricciardi’s careful direction, seen last year in CREDITORS, which encourages actors to build their characters from the ground up as they mine the text for clues.” - Barbara Waldinger, BERKSHIRE ON STAGE

“Director Nicole Ricciardi has created a wonderful ensemble, as the actors explore their characters with depth, complexity, and humor. Her use of the crowded Brooklyn apartment is masterful. Over the years, we have gotten a great deal from the plays that Nicole has directed. She’s a very skilled director…(she) consistently does very, very strong, interesting, complex, unique work.” - Bob and Sally Sugarman, MORE THEATRE TALK

“Director Nicole Ricciardi guides the performers so that each respects the complicated life choices the characters face. The problems that the characters must deal with are not everyday issues, but Ricciardi helps the audience relate to each on a personal level.” - Bob Goepfert, WAMC

“A very fine production…Director Nicole Ricciardi has done a great job with these four actors telling this very involving story. It fights valiantly to honor the dedication of journalists who go above and beyond at great sacrifice to document all that goes on in the world.” – Patrick White, NIPPERTOWN