The Strand Theatre Hits it Big with The Most Massive Woman Wins

By Jason Crawford Samios-Uy

Running Time: Approx. 1 hour with no intermission

Different genders have different problems and, just until recently (in the grand scheme of things) most women’s problems weren’t something people wanted to discuss publicly. Forget about biological issues, good society certainly didn’t want to discuss emotional problems. However, in Strand Theatre’s latest offering, The Most Massive Woman Wins by Madeleine George, Directed by Nicole Mullins, makes no bones about touching on troubling women’s issues. Mainly concerning itself with body image, this piece also touches on emotional abuse, mother-daughter relationships, romantic relationships, and motherhood, among a plethora of other topics. It’s a show one needs to experience, even if to just get a smidgeon of an idea of what an number of women are possibly going through this very moment.

(l-r) Jess Rivera, Kaitlyn Fowler, Molly Boyle, Penni Barnett. Credit: Strand Theatre

Briefly, The Most Massive Woman Wins concerns itself with four women, Carly, Rennie, Sabine, and Cel, who are in the waiting room of an office (presumably) offering surgical cosmetic procedures. During their wait, they each tell the audience, and, at times, each other, their stories which include fat-shaming, troubled romantic and mother-daughter relationships, marriage, sexual urges, and self-harm, just to name a few. For reasons of their own, these women seem to believe cosmetic surgery is going to “fix” whatever problems they have, but each seems to have at least a sliver of doubt as to why they are there. As each woman takes the spotlight to tell of their trials and tribulations, the audience is pulled in and it’s not as though these women are looking for concrete answers, but needs the therapeutic process of just telling their truth.

Director Nicole Mullins seems to have a good grasp of this material and presents it in a minimal, but immersive way. It’s a deep, dramatic piece and delivery of the dialogue must be handled carefully and, for the most part, Mullins is able to guide her actors to effective performances, but, once in awhile, not often, the delivery does seem a bit over-dramatic. In fairness, this could be a director choice or an actor choice, so, there’s that. However, this is from a male reviewer, so, you can take that with a grain of salt. Overall, Mullins does a brilliant job with this piece and has given the audience an efficient, poignant presentation and should be applauded for her work.

Set and Lighting Design by Amy Rhodes is minimal, but engaging. The small space is transformed into a waiting room at doctor’s office in full effect and the impressive design makes it easy to be immersed in the piece. Lighting Design works nicely as it is subtle enough not to interfere with the action and highlights each character when necessary, adding value to the production, as a whole. Along with this, the Costume Design by Maggie Flanigan works well, giving each character a distinctive, individual look that matches their personalities. Though written in the 90s, it’s a timeless piece and the Set/Lighting Design and Costume Design are, as well. Kudos to Rhodes and Flanigan for their efforts.

Kaitlyn Fowler. Credit: The Strand Theatre

Since this is a stream-only presentation, a word or to must be said about Video Production by Glenn Ricci. Ricci is spot on with his superb camera work, keeping the production flowing, letting the actors do their thing as it is captured in a flowing design. It’s not just setting a camera or two up in the seating area and pressing record… not at all. Ricci makes an effort to keep it interesting with sweeps and follows that really get us up close and personal with the characters, adding great value to the production and keeping us engaged. Major kudos to Ricci for excellent videography.

Moving on to the performance aspect, it’s worth saying this small ensemble, a quartet, works to make this production all it can be. Their efforts are not in vain as each brings her own individuality to the stage as well as finds a way to blend in with their fellow actors. Though the scenes concentrate on each character, individually, the four actors have great chemistry that connects them, which is no small feat in a piece such as this. It’s a delicate balance, but these four make it work beautifully.

Penni Barnett takes on the role of Sabine, a slightly older character and one who seems to have had a few more life experiences than the other characters and also seems to be at her sexual peak. Barnett makes some good choices with her character and isn’t afraid of the dialogue or situations, express the sexuality of her character without a second thought, making for a solid performance. There are a few moments when the connection is broken as she sounds a bit scripted, but they are few and far between, not having an effect on the overall quality performance she gives.

Taking on the role of Rennie is Molly Boyle and she seems to have a good comprehension of her character and what she has gone through. Her character concentrates on an estranged relationship with a mother and it’s a relatable situation. Boyle’s natural delivery brings the audience in and makes you feel for her character, and want to help in some way. She portrays a character with a solid outer shell but a broken inner self and it comes across splendidly making for a strong performance.

Kaitlyn Fowler as Cel is a highlight in this particular production. Her portrayal is authentic and engaging as she clearly portrays a vulnerable character who seems to have been pushed into this appointment by a domineering husband who has gotten into her head. It’s a story that’s more common than not, unfortunately, but through her delivery of the dialogue, one begins to understand how someone can get themselves into this type of situation. Overall, her superb performance makes on take notice and she should be commended for her exceptional performance.

Lastly, but certainly not least, Jess Rivera is a standout in her portrayal of Carly, a down to earth, strong (though she may not know it) woman who is there because of her body image issues that, seemingly, she’s been dealing with throughout her entire life. Rivera is passionate and brings that raw passion to her character as she brings this woman’s story to the audience. She’s a great fit for this character and understands the anger, pain, and yearning in Carly, and portrays it excellently. Kudos to Rivera for her outstanding performance in this production.

Jess Rivera. Credit: The Strand Theatre

Final thought…  The Most Massive Woman Wins from The Strand Theatre is a no-holds-barred, intimate look in to the tribulations woman have to endure on a daily basis. The actors handle the material quite well, and though sometimes it seems a bit melodramatic, its effective enough not to be a hindrance to the performance. This small ensemble is giving 100% effort and deserve kudos for their wonderful performances. I have to mention, being an online only presentation, The Strand Theatre got it right! Videography is thought-out and top notch, making for a pleasant viewing experience. Though slightly dated, as the producers state in the beginning of the stream, it’s an important piece that should be experienced to give insight to the many unspoken issues women have to deal with and overcome. This delving, poignant piece of theatre is not to be missed. Get your tickets now.

This is what I thought of The Strand Theatre’s production of The Most Massive Woman Wins… What did you think? Please feel free to leave a comment!

The Most Massive Woman Wins will play (streaming only) through May 16. Click here for ticket info.

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Rapid Lemon Productions is Effective with Serious Adverse Effects

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Since we’re all going through a pandemic at the moment, one this writer hopes is the final phases, have you questioned health care ethics and equality? Well, Rapid Lemon Productions is back on the stage with their latest in-person or live-streamed option, the world premiere of Serious Adverse Effects by Derek Lee McPhatter, Directed by Noah Silas, and they take on this question along with addressing ethics, guilt, and yearning for forgiveness from others and oneself in a well put-together, brand-spanking-new production that will have you questioning, as well.

In a nutshell, Serious Adverse Effects handles hard, important issues that are as relevant today, if not more, than when Derek Lee McPhatter wrote it a few years ago. Though surreal at its base and seemingly hodgepodge, asking the audience to go on an almost psychedelic journey, he handles the dialogue beautifully, addressing the hard questions that have come to light, especially in the last few years, about inequity in the medical field, if we’re truly taking care of everyone as we should be, and who a majority of the Guinea pigs and test subjects are for trials of new medicines and treatments. He also masterfully opens the conversation to more holistic treatments of ailments (“The Syndrome” in his story) and the power of healing oneself through the ones mind. It’s an interesting notion and, depending on who you talk to, seems to work effectively for some folks. You will get all this, and more… if you pay close attention. That’s the key; paying attention. Otherwise, you’ll get lost in th surrealism. The effectiveness of this piece, however, comes in having POC characters/actors discussing and bringing attention to the inequalities of the medical field (and in general) to the forefront and it’s much more valuable than having non-POCs having this discussion because the characters and the actors playing those characters have a better understanding and experience they can relay. But that’s just this reviewer’s humble opinion. Overall, aside from the surrealistic moments which may ask a bit much of the audience, it’s a well thought-out, poignant script and story that needs to be told.

Valerie Lewis. Credit: Rapid Lemon Productions

For transparency’s sake, I have to say I viewed this presentation online, so, my perception may be slightly skewed as I only have a virtual viewing to go on. I will say, Rapid Lemon might want to tweak their technology a bit. I missed a lot of dialogue due mainly to sound issues (it’s a Zoom presentation), but, thankfully, was able to obtain a script to fill in the blanks here and there. If they haven’t already done so, my suggestion would be to have someone in the organization watch it online, and figure out what needs to be done with camera placement and sound.

That being said, the production is still enjoyable and well thought-out. Set Designer Bruce Kapplin, to his credit and expertise, has kept things simple with a few set pieces (desks, counters, etc.) and props and it is quite effective and immersive. The audience is treated to a futuristic, sterile lab/doctor’s office where all the action takes place, and this along with Projection Design by Director Noah Silas brings every scene together to create a captivating, aesthetically pleasing set design.

Costume Design by Deana Fisher Brill is appropriate and authentic, giving the characters a relatable look while keeping in touch with the differences in their positions and authority. The simple but efficient design adds production value without taking away from the story itself.

Kyla Hammond. Credit. Rapid Lemon Productions

Producer Max Garner also puts on the Sound Designer hat and this design is spot on from the funky incidental music to the crucial sound elements that move each scene along. The in-show, soothing, new-age, surrealistic soundtrack brings the into the scenes bringing just that much more immersion to the production. Along with Sound Design, Lighting Designer Allan Sean Weeks pulls the audience in with the same superb surrealistic, colorful, dreamy design that matches perfectly with Gardner’s design. Kudos to both Garner and Weeks for their efforts on this production.

Director Noah Silas seems to have a good grasp of this material and presents it clearly with just enough bells and whistles, but not too much as to take away from the subject at hand. He’s handling a new piece of theatre, which is no small feat, and he manages to bring forth the story through his simplistic but effective blocking and his casting his spot on.

Speaking of casting, speaking on the performance aspect of this piece, this small ensemble of four navigates this material wonderfully. Everyone has a good comprehension of what the author is trying to say and they convey it with ease, giving their all.

Max Johnson. Credit: Rapid Lemon Productions

Maria Marsalis in more of a supporting role of Nia, the sister lost and/or trapped in a bizarre dimension due to her treatment for The Syndrome, plays her part hauntingly well and makes her limited time on stage matter. She may lean toward the melodramatic, occasionally, but it works for the role and she pulls it off effectively.

Taking on the role of Brandon, the frustrated, over-protective fiancé to Paula, is Max Johnson and he takes on this role with gusto. Maybe a little too much gusto at times, but it mostly works for the part. The contrast of the calm demeanor of Dr. Vye and his outbursts is interesting to watch, but there are times where I’d like to have seen a more toned-down delivery of the dialogue. Regardless, Johnson is well cast in this role and gives a terrific, intense performance that is warranted for the role.

Kyla Hammond tackles the role of Paula, an ex-patient of Dr. Vye’s who was a test subject for treatments for The Syndrome. Hammond gives a superb performance emoting both the pain and anger that is within her character. Her delivery of the dialogue is natural and the intensity and urgency is clear cut. She seems to have a good understanding of her character and portrays her delicately, but with passion that is fitting of the role. Kudos to Hammond on her work in this production.

Maria Marsalis. Credit: Rapid Lemon Productions

Lastly, we’ve come to Dr. Vye, the tormented, guilt-ridden doctor, who was only a grad-student when the initial tests for treatments for The Syndrome were happening. This strong character is portrayed by the apt and knowledgeable Valerie Lewis. Lewis is a highlight of this production bringing a certain flair and nobility to the situation at hand. She’s well-rehearsed and gives this role 100% effort making the character sincere enough, expressing her guilt, need to right a wrong, and for forgiveness, to make the audience feel sorry for her anguish. The playwright makes a point in making a putting a black woman in a position of authority and knowledge fighting the very inequality it addresses in the story and it’s quite effective. Lewis absolutely shines in this role and I can’t wait to see more of her work in the future.

Final thought…  Serious Adverse Effects from Rapid Lemon Production is a dreamy, self-evaluating piece that addresses the questions of health care inequality, guilt, medical ethics, and hope and progress that happens through research and hard work. Though the piece asks a lot of its audience and depends on a certain suspension of disbelief, it still hits its mark through a pleasing aesthetic and soothing sound design that captures one’s attention. Production design is pleasing and effective and performances are top notch, though I would suggest seeing it in-person, if you’re able, as the tech for online streaming might have to be looked at and tweaked to get the full effect. In the current social climate, this is an important piece that needs to be seen and experienced, so get your tickets now!

This is what I thought of Rapid Lemon Productions’ production of Serious Adverse Effects… What did you think? Please feel free to leave a comment!

Serious Adverse Effects will play through May 23 both streaming and in-person at Motor House, 120 W. North Avenue, in Station North Arts District, Baltimore, MD. Click here for ticket info.

Important note about COVID-19 from Rapid Lemon Productions:

All performances will be live, and available both online and in person at Motor House, 120 W. North Avenue Baltimore. In-person attendance will follow strict COVID safety protocols, including:

  • Cast, crew, staff, and all audience members will be masked at all times.
  • The number of in-person attendees will be limited so as not to exceed 25% of venue occupancy (including cast, crew, and staff). Audience  members will be physically distanced in the theater.
  • Temperature checks will be conducted, and audience members’ information logged for contact tracing purposes.

For the safety of our workers, additional measures have been taken: All participants are required to produce recent negative COVID test results prior to any in-person rehearsal, where temperatures will be taken and masks worn at all times.

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