Review: Love is a Blue Tick Hound by Rapid Lemon Productions at Baltimore Theatre Project

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours one 10-minute intermission
There comes a time when we all question our lives. Some do it once in awhile, some do it when things are going crazy, and some do it daily… well, most of us do it daily, and Rapid Lemon Productions‘ latest offering, Love is a Blue Tick Hound by Audrey Cefaly, Directed by Donna Ibale, Lee Conderacci, Betse Lyons, and Lauren Erica Jackson, and Set Design by Reese Siedlecki tries to answer some of those questions through four two-person shorts exposing the lives of folks from different walks of life with very different questions and problems.
In a nutshell, Love is a Blue Tick Hound is a delving introspective on relationships and ask the serious questions of life. The entire production is made up of four short two-person plays that ask life’s questions such as “are we happy or are we settling?” or “am I afraid to be alone or am I okay with that?” with a blend of poignancy and comedy that gives the audience emotional peaks and valleys that make for good theatre.
Set Design by Reese Siedlecki is semi-minimal but quite appropriate to make it easy to present four different stories. Set pieces are brought on and off stage to set the scenes and this design does its job superbly. With the use of lawn chairs, a cafe table, willow weeds, and a living room set transports the audience into the scenes easily. Transitions are a bit lengthy and clunky, but not enough to deter the flow of the piece and the cast is well-rehearsed and precise in the changes.
Light and Sound Design by Allan Sean Weeks and Max Garner, respectively, add great value to this production while Weeks sets the scene and times of day brilliantly with subtle light changes and accents while Garner produces a flawless sound design that puts the audience smack dab in the scene with a well thought-out design that doesn’t hinder, but helps the setting and adds that extra authenticity. Also, I found myself Shazam-ing the transition tunes that were used because, well, they were not only fitting but pretty awesome tunes!

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Lauren Erica Jackson as Euba and Carolyn Koch as Fin. Credit: Rapid Lemon Productions


Moving on to the shorts themselves, we are first presented with Fin and Euba, Directed by Donna Ibale, featuring Carolyn Koch as Fin and Lauren Erica Jackson as Euba. This short concerns best friends Fin and Euba (of course) as they complain about their current situation and dream about changing it but don’t do much to do so, as if they are settling for what they go or are afraid to move forward. Director Donna Ibale has a great comprehension of this text and presents the piece in an authentic, down-home way that works nicely. Koch understands her character and portrays her fittingly as someone who wants so much more but can’t seem to figure out how to get it while Jackson, as Euba, portrays her character beautifully as someone who doesn’t dare to want more. Both actresses have a good chemistry and work well off each other to present a deep connection and dependency upon each other.
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Beste Lyons as Lina and Justin Johnson as Roberto. Credit: Rapid Lemon Productions


Second we are presented with Clean, Directed by Lee Conderacci, featuring Betse Lyons as Lina and Justin Johnson as Roberto. In this piece, food service two co-workers discuss relationships and wants before opening and make certain discoveries about each other that were right in front of them the entire time. Director Lee Conderacci’s casting is spot on and she presents this piece in a minimally, but effectively. Lyons embodies her character and connects with the audience making you empathize with her character’s turmoil and her confidence and onstage presence makes one take notice. Johnson gives a superb performance as the immigrant dish-washer with a secret yearning and common sense way of looking at things. His performance is spot-on making him and this piece a highlight of this production.
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Donna Ibale as Kendra and Aladrian C. Wetzel as Betty. Credit: Rapid Lemon Productions


Next is The Gulf, Directed by Betse Lyons, featuring Donna Ibale as Kendra and Aladrian C. Wetzel as Betty. This short begins with what simply looks like two people on a fishing excursion in a deep southern watering hole. However, we discover Betty, played flawlessly by Wetzel, is trying to better herself with plans of schooling and moving out of wherever they currently are and Kendra, played by an able and intense Ibale, is content to stay right where she is. Director Betse Lyons seems to have a tight grasp on this material and presents it simply and concisely with her choice of setting and casting. Wetzel, gives a glimmer of grace and elegance just under the surface of her character and it works beautifully for the scene. The despair and want this actress exudes makes one want to just take her, hug her, and tell her everything’s going to be okay. Ibale, too, portrays her rough around the edges character impeccably with a smidgen of vulnerability that she tries to hide but can’t help but let show every now and then. This piece and its actresses are certainly standouts in this production with spot on performances.
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Mike Smith as Bob and Lee Conderacci as Maggie. Credit: Rapid Lemon Productions


Finally, the production rounds out with Stuck, Directed by Lauren Erica Jackson, featuring Mike Smith as Rob and Lee Conderacci as Maggie. This short deals with a second date between two people who might not know exactly what they’re looking for and trying very hard to impress others. Director Lauren Erica Jackson gives a good showing in her presentation and her understanding of the material is evident. Conderacci gets the fundamentals of her character, a strong woman who has a definite individuality but still wants to “fit in,” and she portrays this nicely but her delivery gets a little scripted at times, but her energy and confident stage presence makes for a lovely performance. Her partner, Mike Smith is the stronger of the duet and is, hands down, another standout in this production. His portrayal of his character, a nervous young man going into a second date and just wants to make a good impression, is on point and natural. He has a strong stage presence with a good comedic timing making for a performance that is a joy to watch.
Final thought… Love is a Blue Tick Hound from Rapid Lemon Production is a perfect fit for Women’s Voice Theatre Festival and the tries to answer some of life’s questions through a series of four short plays directed by a different director (all of whom are women and double as actors in one of the other plays) and allows for various visions of a main theme and each play is cast nicely with actors who work well together. Presenting this piece in a minimalist fashion is a wise choice as is forces concentration on the text and performances making the scenes uncluttered and more meaningful. Overall, this production is well through-out and well-presented and is worth checking out if your wandering around looking for good live theatre in the Baltimore-Washington corridor.
This is what I thought of Rapid Lemon Productions’ production of Love is a Blue Tick Hound… What did you think? Please feel free to leave a comment!
Love is a Blue Tick Hound will play through January 21 at Baltimore Theatre Project, 45 W. Preston Street, Baltimore, MD and February 9-17 at Logan Fringe Art Space: Trinidad Theatre, 1358 Florida Avenue, NE Washington, DC. For tickets, you can purchase them online.
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Review: A Short Reunion at Single Carrot Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with no intermission
Baltimore is full of quirkiness… there’s no way around it. However, it’s also filled with a certain charm that earns it the Charm City nickname. Adding to all this quirkiness and charm, independent theatres have been popping up all over the place and trying new things, stepping out of the traditional theatre experience and contributing to the overall personality of the city. Some have been around for a few years, ten to be exact, and Single Carrot Theatre’s latest offering, A Short Reunion, Directed by various Single Carrot folks, of past and present, and Written by various authors is a new, creative presentation of short plays that takes the audience on a little field trip through Remington, a little corner of Baltimore, and proudly puts the city’s quirkiness and charm on display for an evening of blending the older (original) Single Carrot Theatre with the new.
The evening started out by congregating outside of Single Carrot theatre and breaking up into groups with tour guides and I had the pleasure of being in cute-as-a-button Brian Gilbert’s group and after a few brief comments giving us the ground rules of the “tour”, we were off… all the way over to Parts & Labor Restaurant, which was about 20 paces. Whew! The agony! Once there, the performances hit the ground running with 36 Questions or Emily & Sanders by Adam Szymkowicz, Directed by the current Single Carrot Theatre Ensemble. It’s a cute, relatable piece about a couple, Emily and Sanders, on a first date, trying to break through the awkwardness when they finally decide to play a “game” where they have to get through 36 questions they’ve found on the Internet. This piece is a great way to start off the evening, though, outside of a traditional theatre setting, the performances seem a bit scripted and unnatural, but the text and story are authentic and entertaining.

Paul Diem and Ben Kleymeyer in Grand Mal. Credit: Single Carrot Theatre


Next, cute Brian guides us down the street a few blocks, all the while keeping us engaged with questions and anecdotes relating to the piece or personal stories, to Church of the Guardian Angel where, after climbing a flight of narrow, old stairs, the audience is escorted into the sanctuary where we experience Grand Mal by Shawn Reddy, Directed by Brendan Ragan, dealing with a funeral and the dead man’s son or… sons? The material covers some existential topics such as time and space and, well, traveling through time and space and might be a bit predictable, but is enjoyable none the less.

Jessica Moose Garrett and Elliott Rauh in The Ninth Planet. Credit: Single Carrot Theatre


Leaving the church, we trek down to a corner spot where The Ninth Planet by Olivia Dufault, Directed by Lauren A. Saunders starts its performances right there on the sidewalk. Performed beautifully by Alix Fenhagen, Jessica Moose Garrett, and Elliott Rauh, this piece tells the tale of an exceedingly bright young woman who ventures off to find a better place and something new while, at home, she doesn’t apply herself in school and is stuck in a crazy situation with a single alcoholic dad. It takes a moment to “get” the piece, but the actors are committed and the space is very intimate, automatically immersing the audience.

Rohaizad Suaidi and Lauren Erica Jackson in Tense White People Have Dinner. Credit: Single Carrot Theatre


From there, the evening takes us to the Young Audiences offices for Tense White People Have Dinner by Jen Silverman, Directed by Dustin C.T. Morris. This funny piece takes us through a dinner party, of sorts, with two sisters who have very different relationships with their gentlemen. With eyeballs falling out and revelations being made, this piece is serious, yet funny with commendable performances, though Rohaizad Suaidi seemed rather scripted and over-animated, he still gives a committed performances to match the wonderful performances from Meghan Stanton, Matt Shea, and Lauren Erica Jackson. By the way, The Young Audiences offices is a great time to take a restroom break, should you need it!

Meg Jabaily and Nathan Fulton in Bruce/Brenda/David. Credit: Single Carrot Theatre


Bruce/Brenda/David by J. Buck Jabaily and Nathan Fulton (with Aldo Pantoja and Meg Jabaily), Directed by J. Buck Jabaily is next on the tour, with cute Brain guiding a few steps away from the Young Audiences offices to right in front of Single Carrot Theatre and this piece, based on true events, is definitely a highlight of the evening. Simple and performed impeccably by Aldo Pantoja, Nathan Fulton, and Meg Jabaily, this piece gives us insight into a hermaphroditic young person and a scrupulous, but respected Johns Hopkins doctor and events leading the sad ending of a person named Bruce, then Brenda, then David. It is a poignant, important piece that promotes all kinds of feels.
At this point, we’re back to Emily & Sanders (from 36 Questions or Emily & Sanders) to check in and see how they were doing on their first date and they’ve gotten through most of the questions and seem to make a connection. At this point, we also lose cute Brian as a guide in a very over-the top, absolutely scripted (I hope it’s intended to be) hullabaloo between Brian and Ben Kleymeyer, who could pull back the acting a bit, if authenticity is the objective, and Brian is “fired” or “quits” in a huff, leaving Ben to guide us to our next destination.
This time, we join forces with another group and are back to Church of the Guardian Angel and we are guided upstairs to a space that had a past life as a small gymnasium to experience Live Through This by Caridad Svich, Directed by Genevieve De Mahy. I’m going to admit it. Someone is going to have to explain the purpose of this piece to me. In a nutshell, it was like an art installment of various points of history with a piece of hanging art in the middle of the room that theatre-goers could participate in its creation by pouring paint onto it. A disembodied voice blares out of a single speaker on one side of the room with ambient music backing him up. Everyone is so busy reading the descriptions of the exhibits, hardly anyone pays attention to the voice or what he is saying, so, this one might want to be thought through a bit more. Aside from the distractions from the text, the piece just doesn’t make much sense to me, but it could be my fault… Maybe I should have concentrated more on the disembodied voice?

Dustin C.T. Morris and Elliott Rauh in Itch So Bad. Credit: Single Carrot Theatre


After scratching my head from Live Through This, we are walked down the street to the Miller’s Court Building where we are treated to Itch So Bad by Joshua Conkel, Directed by Ben Klemeyer. This piece is hilarious, performed bravely and confidently by committed, eventually scantily clad actors Elliott Rauh and Dustin C.T. Morris. Poking fun at promiscuity and the risks that go along with such a blithe attitude toward sex, this piece (which is set up more traditionally with seats to take a load off) is another highlight of the evening adding a rag-tag live band of “Scabies” to help the story along with familiar songs that add an extra bit of humor to the already funny piece.

Genevieve De Mahy and Alix Fenhagen in One More Time. Credit: Single Carrot Theatre


The night begins to wind down in a garage/workshop across the street from Single Carrot Theatre with One More Time by Eric Coble, Directed by Brendan Ragan and this short piece, told completely through action, with one solitary word of dialogue, is practically silent but powerful. The actresses, Genevieve De Mahy and Alix Fenhagen are brilliant and exude so much emotion without speaking, it truly is a credit to their acting chops. The story tells of a reunion of sorts where both parties seems to have different ideas of what they want out of it and these actresses portray those feelings flawlessly.

Paul Diem in The Therapist. Credit: Single Carrot Theatre


Ending the evening in the same garage/workshop The Therapist by Charles Mee, Directed by Genevieve De Mahy and, the ending of One More Time seamlessly slides into this piece. The garage door is raised and the rest of the ensemble from all the other pieces are standing there like Walkers from The Walking Dead and they rush in to envelope the audience with a speech performed enthusiastically by Paul Diem about the state of the arts and about artists in general. His charisma is spot on for this piece, even as he’s stripping down to his unmentionables! The audience is given little flags and other accouterments as Diem leads them out of the garage and down the street as if it is a march for art, ending at Single Carrot Theatre, coming around full circle.
All in all, it was an enjoyable evening and more like a leisurely stroll through Remington with the bonus of catching some theatre while out for a walk. The ensemble knows the materials and, more importantly understands the material and it all makes for a great night of Baltimore theatre.
Final thought… A Short Reunion presented by Single Carrot Theatre is a bold, innovative piece that the traditional theatre-goer might find a bit taxing, but it has a very personable feel and gives one a chance to explore the little corner of Baltimore where Single Carrot calls home – Remington. Roughly a mile walk, keep an eye on the weather and dress accordingly… you know how Maryland can get all bi-polar with its weather! Also, just as a note, if you have any disability that makes it difficult for stairs, unless Single Carrot has made arrangements for any foreseeable situation, there will be an issue in seeing a few of the performances because of stairs. You might want to give them a call ahead of time if you have any questions. Overall, the performance is quite enjoyable (and I got to experience it during a beautiful spring evening) and exudes the charm and quirkiness with which Baltimore drips. The tour is well-designed and thought out so there’s no unnecessary detours and though I may enjoyed certain performances more than others, I enjoyed all of them, as a whole. It’s called A Short Reunion but it’s also a short run so if you want a different kind of theatre-going experience; something new and quirky… and quite enjoyable… get your tickets now!
Short plays included in A Short Reunion:
36 Questions or Emily & Sanders by Adam Szymkowicz
The Ninth Planet by Olivia Dufault
Tense White People Have Dinner by Jen Silverman
Grand Mal by Shawn Reddy
Bruce/Brenda/David by J. Buck Jabaily & Nathan Fulton (with Aldo Pantoja and Meg Jabaily)
Itch So Bad by Joshua Conkel
Live Through This by Caridad Svich
One More Time by Eric Coble
The Therapist by Charles Mee
This is what I thought of Single Carrot Theatre’s production of A Short Reunion… What did you think? Please feel free to leave a comment!
A Short Reunion will play through April 30 at Single Carrot Theatre, 2600 N. Howard Street, Baltimore, MD. For tickets, call the box office at (443) 844-9253 or purchase them online.
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