STILL at The Sheen Center for Thought and Culture’s Loreto Theater

A Theater Critic’s Approach to STILL

I don’t read the PR (Egad!) materials sent to me for most productions I see. I had enough of people telling me what to think in the Catholic Church. These days, I go in unprepared and wait to see what happens.

A Familiar Encounter

So it came as a surprise to me that I had seen a production of Lia Romeo‘s STILL last year, and I will repeat what I said at that time.

The First Act: Unnecessary and Predictable

Ditch the first act.

The very little that is accomplished could be swept directly into the second act with no one the wiser.

The first act is two lovers reunited in Washington DC after a few decades. Mark (Mark Moses) is a successful and, more importantly, DIVORCED lawyer living in Colorado. The kids are grown, and he is looking for a new chapter that may be sitting right in front of him. Helen (Melissa Gilbert) is a successful author with no children and no romantic relationship anywhere. The flame is rekindled, and the game is afoot. We see this coming from the opening moments. There is nothing new or intriguing here. There is quite a bit of cutesy that feels appliquéd. Neither of these characters is cutesy.

A Shift in Tone: The Second Act Delivers

A Complex Dynamic Unfolds

Jump to scene two, where there is a boatload of undigested history and present-day politics (and I do mean present-day) to make the entire cart tip over. But it stays up, and that is because of some terrific dodgeball writing by Romeo. If these two were at a cocktail party and unknown to one another, some blood might have been drawn. But they are definitely known to one another. The passion and caring is deep. Instead of throwing a hissy fit or two and bolting out the door, these people go for the gusto. They take no prisoners, and at the same time, they leave no bodies behind.

A Reflection of Our Times

As audience members, we can feel the ebb and flow of this decades-old relationship being flung into the pool of the present and, dare I say, a threatening atmosphere of what is surrounding us right now. Romeo has updated her reference points (last spring’s production was mounted at a time when Biden was the presumed candidate and Musk had not taken his unlawful position as Hired Gun). She shoots from the hip without favoritism. Which is why the second scene works so well. Gilbert and Moses are fine partners who know how to thread the needle of relationships and politics. They focus on the hope they can find and refuse to throw the baby out with the bath water.

The Show’s Impact

We leave thinking as deeply about this couple and our relationship’s unreal life as they do about one another. Most of us in the audience, myself included, have let go of friendships because of recent politics. This show dares us to look beyond the boundaries we have created.

It just takes a while to get there.

Production Details

Still by Lia Romeo, directed by Adrienne Campbell-Holt

WITH Melissa Gilbert and Mark Moses

Scenic design by Alexander Woodward, costume design by Barbara Bell, lighting design by Reza Behat, and sound design by Hidenori Nakajo.

The 8-week return engagement is now playing at The Sheen Center for Thought & Culture’s Loreto Theater (18 Bleecker Street, NYC), through March 23. Tickets are available online at SheenCenter.org, by phone at 212-219-3132, or in-person at The Sheen Center box office Monday to Friday, noon to 5 PM, and one hour before performances.