Rapid Lemon Productions is Effective with Serious Adverse Effects

Posted on May 10, 2021 by Jason

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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Give Me Moonlight Shines in the Night at Rapid Lemon Productions

Posted on February 12, 2020 by Jason

By Jason Crawford Samios-Uy

Approx. Running time: 90 minutes with no intermission

Sometimes there are circumstances that are so very painful but we feel as though we have to bear them alone. We put up walls and even facades to the outside world and, most of the time, we don’t think our problems are sufficient enough to be talked about outside of our own bubbles. We get a peek into this type of thinking in Rapid Lemon Productions’ latest offering, Give Me Moonlight by Ariel Mitchell, Directed by Noah Silas, and we get a glimpse into what can happen when those walls and facades crumble.

In a nutshell, Give Me Moonlight concerns itself with Bessie and Albert, a well-to-do married couple in Chicago who seem to have everything nicely put together. When Bessie welcomes a pregnant stranger into their home, the cracks begin to show in Bessie and Albert’s perfect lives and along with the pregnant stranger, a con-artist finds his way into the mix and all of a sudden, a castle is built in the middle of Death Valley with everyone quite okay with how things panned out.

Bruce Kapplin’s Scenic Design is top-notch and he uses his space exquisitely. He has created a simple, minimal design, but it works perfectly for this piece and his work with sand and desert-looking plants (branches, really) take this set to the next level. It’s a creative and effective design and Kapplin is to be commended for his brilliant efforts. Along with Kapplin’s Scenic Design, another honorable mention goes to Costume Design by Deana Fisher Brill. Set at the turn of the 20^th century, Brill’s design transports the audience to the era flawlessly. Each character is costumed beautifully with period styles and her attention to detail is on point. Kudos to Brill for a design well thought-out and executed.

Noah Silas takes the helm of this production and his understanding of the text is clear and his staging keeps the story flowing which keeps the audience engaged. The subtly of the period is nicely presented and the character work with the performers is spot on making for a superb showing on Silas’ part as guide and head of this solid, polished production.

Flynn Harne and Whitley Cargill. Photo: Rapid Lemon Productions

Moving on to the performance aspect of this production, this small quartet of performers give strong, solid performances are work splendidly together as a team. They give and take with each other making for robust performances that hit all the buttons of this poignant and thoughtful story. Sean Coe takes on the role of crippled and frustrated husband Albert and thought he seems to go over the top at times, especially physically, in such an intimate space, he’s believable enough. His delivery is a bit stiff but, he seems to have a good grasp of the character and plays him well. Whitely Cargill, as Jack, the pregnant woman taken in by Bessie, gives an admirable performance and she seems to get the story and her character, but her portrayal leaves much to the imagination and it mostly has to do with her delivery. She’s monotone, at best, and scripted as if she’s just going through the motions. She does, however, work quite will with her cast mates and the chemistry with all of them is sincere.

A highlight of this production is Flynn Harne as Scotty, the fast talking con-man who is a good balance of looking out for oneself but meaning no real harm. Harne takes this character and makes it his own giving a confident showing and clear understanding of the role. His delivery is natural and he keeps the audience engaged with his energy. Hats off to Harne for a robust and convincing performance.

Out of the four, Holly Gibbs is the standout in this production, taking on the role of Bessie, the turn of the century housewife trying to keep it all together. Gibbs gives a heartfelt, emotional performance and it is completely authentic in both delivery of the dialogue and actions. She embodies this character and pulls the audience in with her sincerity and passion to the character and the story. She has a natural chemistry with her cast mates which enhances her already stellar performance. Gibbs is certainly one to watch in this production and should be commended for her efforts.

Final thought… Give Me Moonlight is a poignant, real story of how people deal with crisis differently. Some fold into themselves, some keep themselves busy, some run, and some run after, but either way, life has a crazy way of throwing curveballs right to your face. The story is engaging and the performances are superb making this one production you don’t want to miss this season. Get your tickets now!

This is what I thought of Give Me Moonlight at Rapid Lemon Productions… what did you think? Feel free to drop a comment!

Give Me Moonlight will play through February 16 at Motorhouse, 120 W North Avenue, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

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Everything is Nearly Perfect with Perfect Arrangement at Fells Point Corner Theater

Posted on September 3, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one 15-minute intermission

Picture it, 1950; Washington, D.C. The war is over, the U.S. has come out of it victoriously, and Korea is just a thought. Nuclear families are popping up all over, with their white picket fences, and everything just seems to be right and polite. It was a simpler time… or was it? If you didn’t fit the norm, was it so simple? Could you make it simple? These are the questions touched on by Fells Point Corner Theatre’s latest production, and the first of their 2019-2020 season, Perfect Arrangement by Topher Payne, Directed by Patrick Gorirossi. It’s a funny, sad, uplifting, and poignant roller coaster about how you never really know what happens behind closed doors.

(l-r) Ari Eckley, Shamire Casselle, Holly Gibbs, and Nate Krimmel. Credit: Shaelyn Jae Photography

According to Samuel French, “It’s 1950, and new colors are being added to the Red Scare. Two U.S. State Department employees, Bob and Norman, have been tasked with identifying sexual deviants within their ranks. There’s just one problem: Both Bob and Norma are gay, and have married each other’s partners as a carefully constructed cover. Inspired by the true story of the earliest stirring of the American gay rights movement, madcap classic sitcom-style laughs give way to provocative drama as two ‘All-American’ couples are forced to stare down the closet door.”

From the start, I had a feeling this production was going to yield good things because Set Design by Bruce Kapplin is top notch. This design completely transports the audience back to 1950 Georgetown in Washington D.C. and Kapplin’s attention to detail is second to none. From the mid-century-style furniture to the fireplace and mantel on the back wall, and subtle colors, this set is a character all on its own and Kapplin deserves a hefty round of applause for his outstanding efforts.

Costume Design by Heather Johnston impeccable. As we’re nicely into the 21^st century, any 1950s piece can be considered a “period piece” and those can be tricky to costume. However, Johnston has done it and managed to put these actors in the time period without skipping a beat. Her choices for each character made them individuals and believable. From formal wear to every day duds, Johnston has pulled off a brilliant design and deserves all the kudos.

Patrick Gorirossi takes the reigns of this production and it is well in hand. Aside from a few “too hokey” bits dealing with advertising that go a little over the top (thought it may have been written this way), this is a tight, well put-together production. Gorirossi knows this material and has a deep comprehension of the text and this is clear in his staging and character work from his ensemble. A truly phenomenal production from a truly skillful director.

(l-r) Ebony N. Jackson, Gabe Fremuth, David Forrer, HOlly Gibbs, Nate Krimmel, and Ari Eckley. Credit: Shaelyn Jae Photography

I’ve got to begin the next part of this review, concerning performances, by stating every single one of these performers held their own in this ensemble piece. Their chemistry was exquisite and they seemed to know their characters quite well making for great performances all around.

David Forrer as Theodore Sunderson and Ebony N. Jackson as Kitty Sunderson, are the seemingly elder characters; he’s the boss and she’s the bosses wife. Forrer and Jackson have these characters down pat. They are both totally believable in these roles and grasp the slight naiveté of folks who may have come of age in a different, earlier time. Forrer plays Theodore with a tough nosed man’s man and boss, but with a compassionate underbelly that does shine through making his character likeable and unlikeable at the same time. He’s confident in this role and has a great presence. Jackson is an absolute highlight in this production as Kitty. She performs the 1950s housewife (albeit rich housewife) flawlessly and knows how to get around the stage. Her comedic timing is on point and she’s certainly one to watch in this particular production.

Another strong performance comes from Shamire Casselle, who is a standout as Barbara Grant, the antagonist turned friend. This character is out of the ordinary for the time and she really doesn’t seem to care about what others think or say about her and is willing to fight for what she believes, even if it goes against the grain. Casselle is extraordinary in this roll and gives a strong and impressive showing. She knows her character and has a good grasp on what this woman is trying to accomplish making for a praise-worth performance all around.

Moving to the central characters of this piece, we have Nate Krimmel as Jim Baxter, Holly Gibbs as Norma Baxter, Gabe Fremuth as Bob Martindale, and Ari Eckley as Millie Martindale. These four performers are near-perfectly cast and play well off of and with each other making for an authentic portrayal of their complicated relationships.

Nate Krimmel as Jim Baxter does well with his character, but there are times I feel he’s trying a bit too hard for the laugh. He gives off more of a childish behavior throughout that is, frankly, somewhat annoying but… he makes up for this with his heart-felt performance towards the end of Act 2. His character seems to become deeper, in a way, and Krimmel’s portrayal shows his understanding of this character and this character’s place in the story.

Ari Eckly, who takes on the role of Millie Martindale, gives a confident performance but, at times, seems uneasy with the comedy. Thier dramatic performance is remarkable and they have a good grasp on the material and this character, but the comedy is not the strongest. However, that’s not to say their performance isn’t up to par, because it most certainly is. Their portrayal is believable, as is their portrayal of the secret relationship their character has with Holly Gibbs’ character, Norma. The chemistry between these two make for an authentic relationship.

Speaking of Holly Gibbs, she knocks it out of the park and is a standout in the role of Norma. She takes this role and makes it her own with a deep understanding of the turmoil within this character. Norma is the first to vocalize how fed up she is with the “arrangement” and wants to live her life in a way she sees fit and Gibbs’ mannerisms and delivery are on point to make this clear. She is comfortable on the stage with a strong presence, giving way to an impeccable performance.

Another standout is Gabe Fremuth in the role of Bob Martindale, the more level-headed, if not staunch member of this unfortunate quartet. His uptight take on this character is just what it needs and his portrayal of a conflicted man, wanting to protect what he has as well as uphold his beliefs (which seem to clash) is incredible. His chemistry with Nate Krimmel as Jim, his secret lover, is good and he plays off of and with Eckly and especially Gibbs, quite nicely. The conflict in his character of wanting to keep the world and the U.S.A. moral but living a life that is thought of, at the time, to be amoral, and Fremuth’s portrayal of that conflict is what makes this performance so poignant as well as infuriating. Kudos to Fremuth for his efforts and work.

Final thought… Perfect Arrangment, is right up my alley when it comes to shows. It’s a drama heavy show but throws in an abundance of comedy to balance it out and the balance in this script is spot on. The cast is top notch and have great chemistry and the staging and Set Design bring it all together got make for a phenomenal production. It’s an important story that needs to be told and it’s still quite relevant in 2019. This is not a show you want to miss and Fells Point Corner Theatre has hit the ground running and set the bar high with this production. Get your tickets now. You won’t be sorry.

This is what I thought of this production of Perfect Arrangment at Fells Point Corner Theatre.… what do you think?

Perfect Arrangement will play through September 22 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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Review: Side Effects May Vary… The Effect at Fells Point Corner Theatre

Posted on February 27, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one 15-minute intermission

When one thinks about drug trials, rarely does theatre come up in the same thought. However, from my experience, anything, any topic, and any story can become theatre and, in this instance, the topic happens to be drug trials. In Fells Point Corner Theatre‘s latest offering, The Effect by Lucy Prebble, Directed by Andrew Porter, presents us with a sneak peek of what might happen in a drug trial for a nondescript drug that is going through human testing.

Nate Krimmel and Meghan Stanton. Credit: Trent Haines-Hopper/THsquared Photography

From what I could gather, in a nutshell, The Effect concerns itself with two volunteers, Tristan and Connie, and two doctors, Dr. Lorna James and Dr. Toby Sealey. They are all in the process of testing a new drug and all the while, a new relationship develops between the volunteers and an old relationship is reminisced between the doctors. Ethics are questioned and results are recorded but those results may not be what was intended.

I’m usually quite fond of the shows produced by Fells Point Corner Theatre but this particular production did not pique my interest in the least. I tried to be interested in the story and invested in the characters, but, alas, I was not. The production value and performance is superb, don’t get me wrong, but I’m not sold on the script and characters. Also, it seems the whole drug trial story line is simply a backdrop for the real story, which is the complex relationships between the characters. Some of the trial process is presented but most of the action revolves around the relationships. Maybe that’s the point?

It’s worth mentioning a definite highlight of this production which is the impressive and superlative Set Design by Bruce Kapplin. This design is clean and modern and fits this production perfectly. Two levels and perfectly symmetrical, Kapplin has captured the sanitized look of a hospital with a couple of levels and a few set pieces and he should be applauded for his impeccable design.

(l-r) Nate Krimmel, Mia Robinson, and Meghan Stanton. Credit: Trent Haines-Hopper/THsquared Photography

I must say, though, Director Andrew Porter certainly has a deep comprehension of this material and he has given us a polished, well put-together production with precise staging (though, be prepared for loud, thumping dance/electronic music shaking the entire theatre), and his vision is clear. Porter can only work with what he has, text-wise, and he does a splendid job in presenting the piece.

Most of the performances are spot on and Megan Stanton is a standout, taking on the role of Connie, one of the volunteers, gives a brilliant performance. Her delivery is natural and smooth making her character believable. She seems to have a good grasp of her character’s conflict and presents her beautifully. Nate Krimmel, who takes on the role of Tristan, a volunteer with experience with taking part in these types of trials, seems to understand his character, but also seems to be trying a little too hard to portray his character’s quirks. He presents Tristan a little over the top at times that takes away from the naturality. Both work well together and the chemistry is there… but I don’t buy it lock, stock, and barrel. This probably is not so much a comment on Stanton and Krimmel’s performances, but they fact I just didn’t connect 100% with the characters as written. Regardless of my feelings or connection (or lack thereof) of these characters, Stanton and Krimmel give confident and commendable performances.

Nate Krimmel and Megan Stanton. Credit: Trent Haines-Hopper/THsquared Photography

Another highlight of this piece is Mia Robinson, who tackles the role of Dr. Lorna James, who’s heading up the trial but is a licensed psychologist who seems to have needed a job, and this is in the medical field, after all. Robinson, like Stanton, has a natural flow to her performance that makes her character more believable. She makes good choices with her character and she’s one that I could find myself just the tiniest bit invested in, which is a good thing. Her delivery is authentic and she’s comfortable on stage which makes for a strong, assured performance. Her counterpart, Dr. Toby Sealey, portrayed by Gareth Kelley, is a little stiffer, as apparently written, but Kelley’s performance is a bit stiff as well. He seems scripted and, at times, uncomfortable in the role. He doesn’t completely falter and he seems to have a good comprehension of his character, but there’s no “oomph” behind his portrayal. The chemistry between the two is nil, at most, but they do get the idea across.

Again, my major beef is with the story and material itself, the performers did, for the most part, admirable jobs and, like I stated with Director Andrew Porter, you work with what you got and this ensemble’s presentation is commendable.

Final thought… The Effect, is a well put-together and polished piece and (most of) the performances are on point but it just couldn’t keep my interest. Staging was great and the message of ethics within drug trial testing is apparent but, it’s not something I think an entire show can be written around. So, I suppose it’s the subject matter itself is what didn’t capture my attention. Medical dramas are tricky and if you’re not into it, there’s not much that can happen to bring you in. Production-wise, this production is top notch from the Set Design to staging to performance and it’s definitely worth checking out!

This is what I thought of this production of The Effect at Fells Point Corner Theatre.… what do you think?

The Effect will play through March 17 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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