George Stevens Jr.: the Man behind the Kennedy Center Honors
• May 3, 2012

Talking with George Stevens, Jr. in his wonderland office at the Kennedy Center for the Performing Arts on a mid-November afternoon, you’d hardly know it was only two weeks until the annual national cultural fete and red-carpet extravaganza that is called the 34th Annual Kennedy Center Honors.

It was quiet at the Center, sun drenching the Hall of Nations foyer and Stevens ushering me in to his office, a remarkable place full of old movie posters, lots of Emmys and other awards, volumes of scripts and scrapbooks. Casually dressed in a blue sweater and slacks, he immediately takes you on a quick little tour of the walls and turns you into a gawker as you stare at a poster for “Shane,” a drawing of his father, the Oscar-winning film director George Stevens in a poker game with his friends, a poster for “The More the Merrier,” a 1940s more-or-less screwball comedy featuring Jean Arthur and Joel McCrea, a future star of gritty cowboy movies.

The office is best described as a vibrant display of the professional lives of Stevens Senior and Stevens Junior, which, taken together, are examples of lives lived that purposefully made a difference.
And we haven’t even talked about the Kennedy Center Honors, which this year, with all the usual glitz, glitter and presidential presence, will be bestowed upon Actress Meryl Streep, the phenomenal cellist Yo-Yo Ma, legendary Broadway chanteuse Barbara Cook, jazz original Sonny Rollins and singer Neil Diamond on Dec. 4 at the Opera House.

It all began in 1978 with honors to Marian Anderson, Fred Astaire, George Balanchine, Richard Rodgers and Arthur Rubinstein, and Stevens tells you a story about the audience jumping to its feet after seeing 1939 footage of Anderson singing at the Lincoln Memorial, having been denied use of Constitution Hall by the Daughters of the American Revolution.

It isn’t just that Stevens is and has been the producer of the Honors, both the live event at the Opera House and the CBS television show that is derived from it (to be aired Dec. 27 at 9 p.m.) It’s that basically, the Honors were his idea, inspired very much by the words of President John F. Kennedy, which can be found carved on the wall of the center.

“Well, it came out of a conversation with Roger Stevens [founding chairman of the Kennedy Center; no relation] back in 1974, and I suggested that the center really needed its own event,” Stevens said. “Roger asked if I had any ideas. And I did. I said that the center should have an event that honored the great figures in the performing arts. A lot had to be done, but that was the basic idea.”

It was more than that of course; it was about the very idea of the Kennedy Center itself and its basic tenets as expressed by Kennedy himself in a 1963 speech at Amherst. “That statement where he said ‘I look forward to an America that is not afraid of grace and beauty . . . I look forward to an America that will reward achievement in the arts as we reward achievement in business and statecraft.’”
Stevens allows that he has some influences on the choice—made by the Kennedy Center’s board of trustees but also national cultural figures, previous winners and others. The proceedings are, of course, secret, but Stevens adds, “I like to think I have considerable input.”

Also secret are the surprises that come with the night’s entertainment and special guests, like the outburst of talent that included Oprah Winfrey and Beyoncé honoring Tina Turner in 2006, or Jessica Simpson leading a star-studded array of female country superstars honoring Dolly Parton in 2008.
So is Margaret Thatcher coming for the Meryl Streep honors? “I don’t know about that,” Stevens said. “But there will be surprises.”

It’s fair to say that Stevens is a historically serious man. Being the founder of the Kennedy Center Honors is no small thing, but it’s not the only thing. There’s a note of serendipity that runs through his life and career, a kind of story with a theme about the value of culture as a way of moving hearts and minds. The Honors—an occasion for pomp and circumstances and rolling of red carpets—are nevertheless a celebration of the lifetime achievements and careers of legendary, giant-sized figures.
He has always said that the Honors are really two shows—the one that is staged in front of a stellar audience of 2,000 or so at the Opera House and the one that’s created to become a television show for the whole world.

“It’s quiet today,” he said. “But the week of the Honors—when the performers and the honorees fly in, the week of the dinners, the rehearsals, the logistics, and all the people you have to deal with, that’s still pretty intense, for me, and everyone else. It’s always thrilling; it’s always exciting, an honor and really hard work.”

For the past several years, Stevens, has worked with his son Michael as co-producer, on the Honors show and the “Christmas in Washington” yearly production. “Michael brings his own perspectives to this, his tastes, his knowledge, what he knows about music and the whole world of arts, the people he knows.

“And yes, it is very, very gratifying to work with Michael, for me, as a producer, in terms of the history of this enterprise, but also the family history. It means a lot to me as a father, and I have to tell you how important his contribution is to accomplishing what we do.”

Stevens has become with the years a kind of cultural icon in this city. He, his wife Elizabeth and his family have been Georgetown residents for decades on Avon Place. In interviews, in a recent roundtable talk on “Creativity in America” at the Aspen Institute, and in person Stevens always comes across as a serious man, without getting within a continent’s distance of becoming pompous or overbearing. He is one of the most accessible of public figures, one of the least “me-me” men you’ll encounter.

He’s led a big life in the big, wide world — son of legendary Hollywood director George Stevens, working on major movie sets, a JFK “New Frontiersman” working to produce documentaries for Edward R. Murrow when he headed the U.S. Information Agency, founder of the American Film Institute, leading film conservation and preservation, founder and co-producer of the Kennedy Center Honors, film director and producer (“A Filmmaker’s Journey,” “The Murder of Mary Phagan”) playwright (“Thurgood”) and author of “Conversations with the Great Moviemakers of Hollywood’s Golden Age at the American Film Institute”). In October, President Barack Obama named Stevens co-chairman of the President’s Committee on the Arts and Humanities.

That’s by way of roll-the-credits bona fides. In some circles, he’s even been described as “Hollywood royalty.”

“What do I think of that?” he says. “I think it’s mostly B-S.”

The truth of the matter is that he came to do what he’s done honestly: lots of hard work, the obvious ability to lead and a passionate, creative urge to be an advocate for culture, not only for its own sake but also for social change and justice.

“We didn’t have anything like the Kennedy Center Honors, and so we have celebrated all sorts of performance excellence,” he said. “And it changed with time, sure. More and more, we all realized the importance of popular culture, and it became a part of the mix: I think Bob Dylan was the first figure of that sort to become an honoree, but not the last.”

Stevens admits working on the Honors enriched him. “I’m a film guy,” he said, “that’s my experience, my comfort zone. So, being around these huge, legendary figures in dance, opera, music, that was an enormously rewarding experience for me.”

That seriousness of purpose, that liberality of spirit and focus, comes in part from his father. Making the documentary “A Film Directors Journey” set Stevens on his own creative path, much like his father’s two-year experience of World War II turned him into a man with a mission that resulted in the great American trilogy, “Shane,” “A Place in the Sun” and “Giant.” With Stevens Jr., the documentary on his father was followed by films about “The Murder of Mary Phagan,” “Separate but Equal” and the play “Thurgood” among other projects.

There are rows of scripts for each Kennedy Center Honors in his office, and each five-minute plus film about each honoree, not to mention scrapbooks and photographs for the AFI Lifetime Achievement Awards, which he has also produced. It’s dangerous being in that office; you get lost in it, so many scenes from movies start running through your head, so many stories.

You can imagine the Stevens spending hours here without ever being alone.

“It’s been 34 years since then,” he said. “I feel more creative, fuller of ideas than ever.” Proof: he’s about to finish a documentary about the Washington Post editorial cartoonist Herb Block, and a second set of “Conversations with Great American Directors” are coming out.

Of necessity, life and death and all that make for omissions on the Honors list. One obvious one is, of course, George Stevens, Sr., who died in 1975. You don’t ask, but chances are he would have been a cinch.

Speaking in public like the recent Aspen Institute or in interviews, Stevens often tells the story about being with his father after he had won the Oscar for Best Director for “A Place in the Sun.”

“He said to me ‘We’ll know how good it really is 20 or 30 years from now.’”

Stevens thinks it holds up, 50 plus years later. It’s an American classic. But Stevens’ life, adding up the accomplishments and their meaning, also hold up with time. The son, in this case, also rises to the occasion.

Kennedy Center Honorees

It’s star power week in Washington. This is the week of the 34th Annual Kennedy Center Honors, which means that among us will be five of the nation’s finest, most enduring and sparkling legends and stars of the performing arts.

Meryl Streep, touted as the most awarded and award-nominated actress ever, will be honored again this year. Her record: 45 film roles, 16 Oscar nominations and two wins, 25 Golden Globes and so on.

Yo-Yo Ma’s selection casts him in the shadows of the major classical music performers who formed a large number of the honorees in the early years of the Kennedy Center Honors. But to say he is a classical musician is to miss the pioneer, the genre-bender and the passionate cellist which he truly is. He has recorded 75 Sony Albums and has collaborated with the likes of Paquito Rivera, Renee Fleming, Dave Brubeck, Bobby McFerrin and James Taylor.

Sonny Rollins, the oldest among the honorees at 81, is one of the last of the old giants of bee-bop and improvisatory jazz on the saxophone, or anything else, as well as being a gifted composer. As he put it when he received the National Medal of Arts in March of this year, “I accept on behalf of the gods of our music.”

Barbara Cook may be, as Alistair Macaulay of the Financial Times says, “The greatest singer in the world,” but she’s actually a little more than that. She cut her singing teeth in the 1950s on national tours of “Oklahoma,” and “Carousel” and hit all the notes in the Leonard Bernstein’s “Candide.” Her career almost six decades: it’s so rich that it seems too short.

Neil Diamond has been around a long time too, and sometimes we forget that. Sixty-types remember all the big hits, forgetting that he also wrote the score to “Jonathan Livingstone Seagull,” wrote “You Don’t Bring Me Flowers” for Barbra Streisand and starred in a version of “The Jazz Singer.” He’s in the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, and, according to Paul Simon, was once known as the Jewish Elvis Presley. Go figure.

The Gala Kennedy Center Honors performance will take place Dec. 4, co-produced by George Stevens Jr. and Michael Stevens, at the Opera House where the honorees will be saluted by performers, their peers, the powerful and the president. The Honors Gala will be broadcast on CBS Dec. 27 at 9 p.m.

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Restaurant Association Metropolitan Washington Holiday Party
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The Restaurant Association Metropolitan Washington (RAMW) hosted a holiday party on Nov. 28 at Watershed, which renowned restaurateurs Todd and Ellen Kassoff Gray opened last April in NoMa’s Hilton Garden Inn. The restaurant showcases the bounty of the Eastern Seaboard. The warm evening meant that guests could congregate on the outdoor patio to feast on abundant freshly shucked oysters. Watershed helps support a collective of East Coast fishermen as well as the Oyster Shell Alliance Program, which recycles oyster shells in the Chesapeake Bay for reforesting. Since 1920, RAMW has represented and promoted the foodservice industry in our area through education, government relations and socio-professional activities. [gallery ids="100418,113487,113541,113497,113533,113507,113525,113517" nav="thumbs"]

Classic Conversations with Kevin Kline
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Actor Kevin Kline joined Shakespeare Theatre Company (STC) Artistic Director Michael Kahn at Sidney Harman Hall on Nov. 28 for the second installment of Classic Conversations, a series of discussions with classically-trained actors during STC’s 25th Anniversary Season. Kahn opened the program by noting that critic Frank Rich deemed Kline “the American Olivier.” Kline spoke of his training at Juilliard and being approached by Joseph Papp to play Richard III in Shakespeare in the Park, noting “I didn’t start small.” In response to Kahn’s query about what he liked in working with a director, he responded “fun.” Kahn said that his legendary reluctance to accept parts had earned him the nickname “Kevin Declined.” Both concurred that “great actors become great by doing great roles.”

Opera Camerata Presents Die Fledermaus
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The Opera Camerata of Washington, D.C., brought an early holiday treat with the frothiest of operas under the patronage of Ambassador of Monaco and Mrs. Gilles Noghes on Nov. 29 at the Sulgrave Club. Following a cocktail reception, guests were seated in the ballroom which glittered in true Viennese splendor. Elizabeth Turchi as Rosalinda and José Sacin as Eisenstein led a stellar cast accompanied by Opera Camerata’s top orchestra and chorus. The behind the scenes shenanigans of Viennese society were hilariously described by narrator Stefan Lopatkiewicz who captivated his audience with such insights as “the icing was put on the strudel, so to speak.” [gallery ids="100419,113588,113527,113579,113570,113537,113562,113554,113547" nav="thumbs"]

3rd Annual Photo Competition
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For our third year running, The Georgetowner’s annual photo competition has let us reach into the community and ask our readers for their most memorable scenes of the last year. Georgetown’s historic beauty is something often overlooked in the bustle of urban life—after a while you begin not to notice the gold-domed grandeur of the PNC Bank on Wisconsin and M (erected in 1814 as part of Riggs Bank by a group which included George Washington’s nephew), the Frank Schlesinger-designed apartments overlooking the waterfront, or even the beauty of Key Bridge, the oldest surviving bridge across the Potomac. And this doesn’t even touch upon our historic row houses, cobblestone streets, waterfront views of the Potomac, boathouses and parks.

Sometimes it takes a photograph to capture the essence of a time or place, and in Georgetown’s case, they are bridged tenuously between the tradition of the past and the promise of the future.

Many thanks to those who submitted this year. Of all the standout entries we received, the overarching theme seemed to focus on our neighborhood as a focal point for some of Washington’s most memorable landscapes and cityscape, and the overwhelming submissions that flowed beyond Georgetown and wandered around our city limits were impossible to ignore. Tom Ward’s photograph of the Vietnam Memorial, at right, was a subtle and moving portrait, echoing the souls of all those we lost so many years ago in the folding reflections of the granite walls within themselves.

As we look on from the newly completed Waterfront Park, past the Kennedy Center and into the city beyond, one thing remains in focus: we live in a beautiful place. Let’s not forget it.

About the winner:
‘Sunrise Over 34th Street,’ photo By Didi Cutler, winner of The Georgetowner’s 3rd Annual Photo Competition. Thanks to all who participated. For more photos, turn to page 16.
A 34th St. resident, Isabel “Didi” Cutler has spent many years living and traveling in the Middle East. Her photographic portraits and landscapes hang in embassies, museums and offices throughout the world, as well as in many private collections, including the White House. Her portraits include prominent statesmen, artists and authors, as well as a broad range of other individuals, ranging from royal families in their palaces to neighborhood children in intimate family surroundings. Cutler’s book, ‘Mysteries of the Desert,’ was published by Rizzoli in 2001. [gallery ids="100454,115438,115403,115430,115413,115422" nav="thumbs"]

Citizens’ ‘Winter Wonderland’ Melts Into ‘Disco Inferno’
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You know you got a hot party going on, when the Mayor of Washington, D.C., boogies until the last dance, wearing a red boa. Yes, hizzoner Vincent Gray along with hundreds of Georgetowners got down at the Russian Embassy Dec. 2 at “Winter Wonderland,” the annual gala for the Citizens Association of Georgetown.

Fine food, Russian vodka and caviar with disco and motown music were the formula for fun — and with Russian Ambassador Sergey Kislyak and his wife Natalia providing their elegant venue once more. The Right On Band returned with its high-energy ’70s music with tunes like “Disco Inferno,” “Love Train” and “I Will Survive.”

Gala co-chairs Nancy Taylor Bubes, Michele Evans and Patrice Miller organized the night which honored Georgetowners John Richardson and Franco Nuschese. Richardson helped transform Volta Park in the 1990s; his contracting firm has renovated many houses in Georgetown. Nuschese, owner of Café Milano, supports many community charities. The lively auction, run by newcomer Martin Gammon of Bonhams, got the crowd to put their hands up and bid — and they did. Councilmembers Jack Evans and Vincent Orange were dancing; former Mayor Anthony Williams showed up, too.

Sponsors included Vornado Realty Trust & Angelo Gordon & Co. on behalf of the Shops at Georgetown Park, M.C. Dean Inc., MRP Realty, Washington Fine Properties (Nancy Taylor Bubes), Western Development Corporation, EagleBank, EastBanc Technologies LLC, Georgetown Cupcake, Georgetown University Hospital, Clyde’s Restaurant Group and The Georgetowner.

Oh, yes, Mayor Gray joined the conga line with the band’s Arline Baxter nudging him on.
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Hope Connections
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On Dec. 7, Bernie and Janice Robinson opened their historic Capitol Hill home to honor the founding board of Hope Connections for Cancer Support. The last of its members will rotate off the board at the end of this year. The 20 founding board members, led by Founding Board Chair Bernie Kogod, raised $500,000 in two years to open a cancer support center that has, since its opening in 2007, had more than 25,000 visits to its facility by people with cancer and their loved ones to participate in free programs of emotional support, education, wellness and hope. Bernie hailed executive director Paula Rothenberg as “the glue to everything that we have always done.” He said “what better reward can you get but helping people.” [gallery ids="100436,114358,114317,114350,114342,114327,114335" nav="thumbs"]

The University Club Hosts Authors Night
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The University Club hosted the 22nd annual local authors night on Nov. 30. Former Secretary of Defense William Cohen and Thomas Friedman, journalist and political economist, were among the 40 authors represented. Just in time for holiday giving, Dinah Corley presented her recent book Gourmet Gifts published by Harvard Common Press. The book has been described as “the first food-gifting book to give equal weight to the recipes and to their wrapping and presentation.” The author feels that “good things to eat should be a feast for the eyes, as well as the palate, whether they are on a plate or in a package.”
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The Perfect Season for Visual Arts
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In the seasonal cycle of arts and entertainment, summer and autumn bring about the blockbusters. Hollywood pulls out the big action spectacles and Oscar bait, lists of the year’s best books and music pop up in all our syndicated leisure sections, museums open their big name exhibitions to attract the inflated summer crowds and holiday visitors, and the Kennedy Center usually brings in “Wicked” for a few weeks. Over the past six months on our museum and gallery scene, we’ve seen a major Edgar Degas retrospective, a multifaceted citywide adulation of Andy Warhol, the wire-sculpture portraiture of Alexander Calder, the stentorian “30 Americans” exhibit at the Corcoran, and pioneering video artist Nam Jun Paik in the Tower of the National Gallery.

The winter months, on the other hand, often bring us rich and subtle experiences, opening the doors to work that might not have the opportunity to shine during the busy season. The work Sam Gilliam did with The Phillips Collection last winter, installing a site-specific work and curating a concurrent exhibition of his artistic influences, was an unprecedented homage to Washington art culture. Last February, The Hirshhorn’s retrospective of Blinky Palermo, a relatively obscure, German-born postwar painter, was the first comprehensive survey of the artist’s work in the United States. And while shows like this are the salty bone marrow for Washington’s art-going crowd, they would be overshadowed by the Warhols and Calders in the primetime months.

Now is the time for galleries and museums to release their B-sides and alternative works, and challenge tradition of the Western canon. It’s a two-month art junkie paradise. This is the stuff you don’t usually see in books. All you can do is bundle up to combat the whipping winter wind and go experience the work firsthand. Once your fingers thaw, you’ll be glad you did.

Annie Leibovitz at American Art Museum
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Since she made her indelible mark in the landscape of contemporary pop culture with her Rolling Stone photographs of a naked John Lennon cocooned around a black-clad Yoko, Annie Leibovitz has been generally acknowledged as the eye of Hollywood. Anyone who’s anyone since the 1970s has assuredly looked down the barrel of Leibovitz’s lens.

But don’t expect to see Johnny Depp or Leonardo DiCaprio hanging on the walls of the American Art Museum this year. The exhibition, “Annie Leibovitz: Pilgrimage” (opening Jan. 20), is uncharacteristically void of any people at all.

Visiting the homes of iconic figures, including Thomas Jefferson, Emily Dickinson, Georgia O’Keeffe, Pete Seeger and Elvis Presley, as well as places such as Niagara Falls, Walden Pond, Old Faithful and the Yosemite Valley, Leibovitz let her instincts and intuitions guide her on a journey across America. Revealing her curiosity and infatuation with the country, the photographs span landscapes both dramatic and quiet, interiors of living rooms and bedrooms as well as objects, rendered in a way that feels almost unconscious. Some of the pictures focus on the remaining traces of photographers and artists Leibovitz admires such as Ansel Adams and Robert Smithson. The photographs in this exhibition, bridging a period between April 2009 and May 2011, were taken simply because Leibovitz was moved by the subject. And it cements her as much more than a photographer of American dreams, but a filter of the American experience. For more information, visit AmericanArt.si.edu.

Picasso’s Drawings at the National Gallery of Art
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As an artist, Pablo Picasso covered so much ground it becomes difficult to discuss any of his individual contributions without missing an alternative, equally integral aspect of his work. From cubism and collage, to the undulating restraint of his blue period and the effortless, classical ambiguity of his Rose period, it’s easy to get lost in his composition, his perspective, his color and texture, his visual sense for love, madness, grief, joy and everything in between. What’s often overlooked is how well the guy could draw.

Picasso was a master draftsman, and his command will be on full display at the National Gallery this month in “Picasso’s Drawings, 1890–1921: Reinventing Tradition,” opening Jan. 29. The exhibit spans the artist’s drawings over 30 years, from his early studies as a young student in the 1890s (10 to 15 years before he shook the art world with the introduction of his cubist works around 1907), to his virtuoso drawings and portrait sketches of the early 1920s. Delving into the importance of drawing to Picasso’s process of creation, experimentation and discovery, the audience will get to see how intricately his work is connected with the grand tradition of drawing by European masters of the near and distant past from Rembrandt to Vermeer. For more information, visit NGA.gov.

‘Suprasensorial: Experiments in Light, Color and Space’ at the Hirshhorn
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The Light and Space movement was introduced to American around the 1960s in southern California. Focused on perceptual phenomena such as light, volume and scale, the tenets of the movement sound like a neo-impressionism for the 20th century, with a focus on the ethereal perception of light, volume and scale in its most raw form. Whether directing thre flow of natural light, toying with light through transparent, translucent and reflective materials or embedding artificial light within objects and architecture, the works always used a range of materials and often incorporated modern innovations in science and even aerospace engineering.

The Hirshhorn will be presenting the first exhibition to reevaluate the evolution of the international Light and Space movement through the work of five pivotal Latin American artists, who almost a decade before the movement’s introduction to America were creating environments of light and color that challenged traditional standards of art. The five installations that make up “Suprasensorial” (opening Feb. 23) will create enveloping optical effects that overwhelm and transform sensory experience and demonstrate Latin America as a source of innovation for the global Light and Space tradition. For more information, visit Hirshhorn.si.edu.

The Voice and Roles of Holly Twyford
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If you’ve seen Holly Twyford on stage, talked with her on the phone or during an interview at a coffee shop on 14th Street, or listened to her accept yet another Helen Hayes award for acting, there’s one constant.

It’s her voice. 

Twyford’s voice has a compelling resonance. It stands out in a crowd and would be recognized in a crowded post-blackout room.  It has the quality of a song you know by heart sung differently every time out.  This is not to suggest that there’s anything monotonous about her voice, rather, it’s just another one of her gifts and tools that she brings to every character she’s played, stamping the character as her own.

So, if you see her name on a cast list, you tend to want to go and see the play, even if you weren’t going to go anyway or knew nothing about the play.  Her presence probably guarantees that there might be something smart, surprising and moving in the works.

That’s certainly the case with her portrayal of physically and psychologically wounded combat photographer Sarah in Donald Margulies’s “Time Stands Still,” a four-character play about the effects of war in contemporary times at the Studio Theatre through Feb. 12.

Twyford, who is a mainstay of Washington stages, now, like many actors, is booked ahead, so that being in this particular play was something she knew she was going to do last year. She has the luxury, being in demand, to plan ahead and can make her choices with care.

“I’ve worked a lot over the years at Studio Theatre so it’s always been a good experience here,” she said. “The play seemed like a good, intelligent play with many layers to it, and I knew it would be a challenge.  I think the work — what the character does — has always fascinated me.  The question becomes, why would anybody do this kind of thing, put themselves in harm’s way, be constantly in danger, and those questions resonate in the play.”

“Time Stands Still” is one of the more intelligent, well-written plays you’re likely to encounter this year.  Margulies is a smart playwright and Pulitzer Prize winner, interested in relationships in various settings, plus the subject matter — our two overseas wars in the Middle East, how the media covers conflicts and the kind of people that are drawn to that setting professionally — resonate in our lives.

“Sarah isn’t by any means a typical character,” Twyford says. “I mean how can she be, given what she does and the work haunts her and now she has to face choices about what kind of life she wants to live.”

As the play opens, Sarah and her live-in boyfriend,  James, a journalist who has written about the wars alongside her, have come home to New York from the wars, after Sarah suffers near-death injuries in the wake of a roadside bomb. She is emotionally as well as physically scarred, but James, too, suffered an emotional breakdown after witnessing women being killed in front of him during a bomb attack.

They return to their friends, Richard, an editor at the magazines which runs their work, and his new, much younger and pregnant Mandy, who works as an events planner.

The play touches you because it’s not a star-oriented play but an ensemble play, where the relationships among the four affect everyone.  “You know, Mandy is easy to dismiss, she’s facile, a little shallow, she’s inexperienced and has this cringe-inducing sincerity but Laura [Harris] does wonders with her, she’s really good at getting you to listen to her.”

Sarah’s dilemma becomes a major issue when James wants to marry her and suggests they stay away from the dangers of the wars, settle down and live like real people. He’s ready, but it’s plain to see that, in spite of her injuries or maybe even because of them, she’s pulled by the action and the plight of the people she’s encountered.

“We had a chance to talk to a writer and a photographer in advance of rehearsals,” she said. “They’re amazing people. I don’t know how they do it, to be honest.  And it’s all so immediate to us.”

The wars in the Middle East produced some major reporting stars comfortable in combat zones, but also resulted in casualties to photographers, writers, and reporters.

“She has to make a choice,” she said. “I mean not everybody can do this sort of thing. You have to give up other possible lives.”

Twyford thought about her own life and choices. “I mean, you have to be a little different to do what we do in the theater, role to role, “ she said. “I don’t mean to suggest that acting is anything like what the characters in the play do.  There’s nothing so dangerous, nothing quite so immediate and important and serious. But still.”

Twyford is among a cadre of Washington actors who have chosen to navigate the difficulties and joys of acting, specifically living and working in the Washington area, a rich theatrical environment that remains a little under-recognized.  “It’s not for everyone,” she said. “If you’re going to concentrate on local theater, then you’re not going to be a movie star, you’re not going to be famous or rich. But it is rewarding.”

That’s true for Twyford, who grew up in Great Falls, in a house where her parents still live. “They’ve been to everything I’ve been in,” she said. “It’s so amazing and supportive, and there’s that continuity and love there.”

In a group of such regularly excellent actors as Ted Van Griethuysen, Floyd King, Nancy Robinette, Sarah Marshall, Ed Gero and Tana Hicken, to name a few, Twyford is a standout.  She’s been referred to as the Meryl Streep of Washington, which, given the quality of Twyford’s work, is a compliment to both.

She has also managed to live a so-called real, family life with her long-time partner Saskia Mooney and their daughter, Helena (named after the lead in Shakespeare’s “All’s Well That Ends Well”). “I’ve been fortunate because I have constants in my life,” she said. “And I’ve been so fortunate in the opportunities I’ve had here to work with so many gifted directors and actors.”

This past year, she directed “Stop/Kiss” a play she performed in a decade earlier, for the No Rules Theater Company, a first for her. She’s collected numerous Helen Hayes Awards for acting (including for playing a dog at Adventure Theater) and won four times, the first time as Juliet.

“With Shakespeare, there’s always the words, the leeway, the poetry, the adventure of exploring roles,” she said. “You don’t ever forget the words or the feelings they inspire.” She has done her share of Shakespeare, working with director Joe Banno at the Folger as Juliet, Hamlet (along with several actors in a multiple-personality Dane), Beatrice and others.  She and Tana Hicken worked together twice — at Theater J in “Lost In Yonkers” and  Athol Fugard’s “The Road To Meccah” at the Studio.  It’s hard to think of a theater in Washington during the course of two decades and numerous playswhere she hasn’t worked.

Here is what you can count on with Twyford at one of her performances:  at some point during the proceedings, you will be surprised, be it comedy, tragedy, contemporary or Verona. At some point, the emerging character becomes hers and, therefore, yours. She will get something out of you, some recognition, a punch in the heart, a laugh (but not a cheap one).        

A lot of this happens during the course of “Time Stands Still” with her Sarah.  And there, as always, is the voice.  You recognize it right away.  It’s only later in play that you think of it as Sarah’s voice.

“Time Stands Still” by Donald Margulies, directed by Susan Fenichell, runs through Feb. 12 at the Studio Theatre, 1501 14th Street, N.W., Washington, D.C. 20005. 202 332 3300. [StudioTheatre.org](http://www.studiotheatre.org/)