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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War is Hell in Crusade at Rapid Lemon Productions

Posted on August 12, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Flynn Harne (Mitch), Emma Hawthorn (Galen), Noah Silas (Hector). Credit: Rapid Lemon Productions

What would happen if policy and thought tipped one way or another in a country divided? We’re seeing more and more of this each day in real life America, but what would happen if it went to extremes? This question is explored in Rapid Lemon Productions’ latest offering, Crusade by Bruce Bonafede, Directed by Timoth David Copney. It’s a story of division and how humans, soldier or civilian, act in times of war and unrest.

Briefly, Crusade concerns itself with a country at war, civil war, really where the Christians have taken over government and have outlawed every other religion and anything they consider to be hedonistic. A small band of soldiers find themselves in a tucked away cabin lived in by a former professor of genetics who just wants to be left alone. The rag-tag group is then joined by a Christian prisoner and all of their morals and beliefs are tested in one way or another as each tries to find their way out of a desperate situation.

Emma Hawthorn (Galen), Flynn Harne (Mitch), Stephen Kime (Kershaw), Noah Silas (Hector), Lola Reign (Britt). Credit: Rapid Lemon Productions

Lights and sound have major roles in this production and Lighting Design by Brad J. Ranno and Sound Design by Max Garner are spot on. Each subtle change of light sets the mood for each scene and adds value to the production, as a whole, while Garner’s impeccable Sound Design adds to the story and does not hinder it in any way. The designs blend perfectly into the staging and keeps the production engaging making for fantastic work from both Ranno and Garner.

Flynn Harne (Mitch). Credit: Rapid Lemon Productions

In tandem with the Light and Sound Design, Set Design by Sebastian Sears fits this production perfectly. It’s simple with no bells and whistles. Sears transports the audience into this little run down cabin in the woods and his set piece choices integrate flawlessly with the story with old furniture, dark colors, and simple pieces. I love the space at Baltimore Theatre Project but I can see how it might be tricky to create sets upon, but it didn’t hinder Sears and he should be applauded for his efforts.

Direction by Timoth David Copney is absolutel superb. It’s tough material, but Copney has a definite understanding of it and presents it beautifully. His staging is near flawless and he keeps the action moving and engaging for the audience. It’s clear he has a tight grasp on these characters as his guidance helps each actor make their characters personable and believable. Pacing is on point and Copney’s knowledge of the stage is clear. Kudos to Copney for a job quite well done.

Emma Hawthorn (Galen). Credit: Rapid Lemon Productions.

Moving on to the performance aspect of this piece, it’s worth mentioning that all six ensemble members bring their A-game to this production and all give strong, confident performances of this heavy material. Eric Boelsche as Josh, the communications man in this small group, is believable and natural in this role and the delivery of his monologue is touching and true. Flynn Harne as Mitch, the leader of this troop, has a great command of the stage and his presence is bold.

Flynn Harne (Mitch) Noah Silas (Hector). Credit: Rapid Lemon Productions

Emma Hawthorn takes on the role of Galen, the civilian and former professor of genetics who is working on a scientific history of the world, and Stephen Kime tackles the role of Kershaw, the Christian soldier captured by one of the soldiers. Hawthorn is stupendous in this role. She takes it and makes it her own with all the emotion and mannerisms that are required. She works well with her cast mates and makes the character someone with whom one can empathize. Kime, who actually replaced the original actor late in production, knocks it out of the ball park. I would have thought he was with the production from the beginning, so, he was certainly a lucky find! Kime is consistent with his stoicism and is unshaken in his character. He is a highlight in this production with his strong presence and focused performance.

Lola Reign (Britt). Credit: Rapid Lemon Productions

Rounding out the cast are standouts Lola Reign as Britt and Noah Silas as Hector, both weary soldiers in this small troop. Silas couldn’t have been better cast in his role, maybe it’s because of his great stage presence, but his was the most believable as a soldier and he certainly has the rugged look. But beyond that, his character and his character’s conflict is heart wrenching and he portrays it beautifully. He’s certainly one to watch in his characters climactic scene and his emotion is absolutely authentic. In the same vein, Reign is spot on as a young woman full of rage. Her delivery of the heavy dialogue oozes anger and wrought. Kudos to both Reign and Silas for outstanding performances and I hope to experience more performances in the future.

Eric Boelsche (Josh) and Noah Silas (Hector). Credit: Rapid Lemon Productions

Final thought… Crusade from Rapid Lemon Production was a Baltimore Playwrights Festival submission and is a heavy production that makes you think about faith, loyalty, and what you would do if you were caught in between. I, personally, was not offended by any of the content, but I can see where certain folks might be. I’m speaking on the portrayal and interpretations of the Christians and though only one is actually seen in the flesh, they are spoken of throughout the piece. Christians are made out to be Nazi-like figures who are blinded by their faith and, though, some are, many, in my experiences, are not. Then, again the portrayals of the soldiers aren’t any more flattering, making them out to be killers who have a grudge against anyone with faith, because of their own, personal reasons (some good, actually, in my opinion). Don’t get me wrong, the writing is stellar, if not (seemingly) a tad one-sided, but makes up for itself in the climax. The production value is superb in its simplicity and the performances are top notch. If you’re familiar with the old hymn “Onward Christian Soldier,” this piece gives it an entirely new meaning. Get your tickets because you’ll want to see this production.

Note: There is a content advisory stating “Crusade is a fictional story, but on whose themes are increasingly real to us today. It’s a violent story. Its characters deal with mental and physical torture, rape, mass murder, and other horrible things that happen in war. Our production addresses all of these; and specifically, employs very realistic-looking but nonfunctional prop weapons and a variety of lighting and sound effects which may be disturbing to some in our audience.”

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

Crusade will play through August 18 at Rapid Lemon Productions, Baltimore Theatre Project, 45 W. Preston Street, Baltimore, MD. For tickets, you can purchase them at the door or online.

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Review: Thank You, Dad at Rapid Lemon Productions

Posted on January 14, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

On November 18, 1978, tragedy struck in a little stretch of land in Guyana, in South America, where some 900 people lost their lives because of on crazed man. News hit hard in the United States because most of these folks were lost, disenchanted Americans, including a United States Senator. Some of you might know this story and the story of Jonestown, led by the Reverend Jim Jones and the final act of revolutionary suicide that occurred over four decades ago and Rapid Lemon Prouctions‘ latest offering, Thank You, Dad by Aladrian C. Wetzel and Directed by Donna Ibale, gives us insight into the man behind the tragedy, Jim Jones. Through Three acts, we learn of his beginnings, his ministry with The People’s Temple, and then ultimate insanity that took the lives of the people who followed him.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Hands down, author Aladrian C. Wetzel has crafted an intelligent, thoughtful piece of theatre. It’s apparent she has done her research and has gathered together three important phases of Jim Jones’ life to present in this work. As one who has always been macabrely fascinated by this tragedy, I’ve spent hours online watching videos and films about Jim Jones and Jonestown, and Wetzel has hit the nail on the head in her presentation. The script is well put-together and engaging and it offers facts with an artistic license that doesn’t hinder the information. Jim Jones is a complicated man, obviously, but Wetzel has managed to tell his story, through his point of view, while showing the madness that was just under the surface that some people saw directly, while others saw only a savior. The dialogue is easy to follow and helps us understand Jones as a regular man, a self-proclaimed prophet, and madman. Whether you’re familiar with this sad story or not, you will walk away learning a little more about this complex man and the massacre of Jonestown. Wetzel is to be commended and applauded for her work and efforts.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Set and Property Design by Max Garner and Projection Design by Chris Uehlinger blend perfectly into this production and add great value as a whole. Set pieces and digital images and video are chosen wisely and help move the story along as we take this journey with Jones. The full back wall projections and simple setting do not take away from the storytelling of this piece and give just enough to put the audience in the scene to better understand what they are watching. The Baltimore Theatre Project is such a great venue and the perfect space for this production that was used wisely by Garner and Uehlinger.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Director Donna Ibale (with Justin Johnson, Chara Bauer, and Lee Conderacci) do a splendid job realizing their visions on the stage. Ibale has wisely chosen to use a blank stage with simple set pieces that does not get in the way of the telling of the story, but adds to it. Ibale seems to have a good grasp on who this tragic person was and the history leading up to his ultimate dastardly deed. The only drawback is the recorded voices filling in as followers and such as they sound too rigid and scripted to be folks talking from the heart or giving spontaneous responses. However, the text that is spoken does move the story along and gives Jones something with which the actor portraying Jones can work. Each act is presented as a sermon, of sorts, and we are forced to pay attention, making the experience all the more immersive. Simple sets, simple staging, but fantastic storytelling. Kudos to Ibale and company for their efforts.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Taking on a character in a one-man show is daunting and taking on the persona of a real person can be downright trying but Lance Bankerd, a veteran of Baltimore theatre, as the The Reverend Him Jones shows no signs of difficulty whatsoever. Bankerd effortlessly embodies the role of Jim Jones and, just like the man himself, keeps the audience enthralled. He completely transforms himself to create this character, inside and out. From the younger monkey selling Jones until the whacked-out Jones giving the death speech, he doesn’t falter once and keeps his performance consistent. It’s easy to see he has a magnificent comprehension of the character, the story, and the text and his delivery is natural and engaging. Hands down, it’s a tour-de-force for Bankerd and this is not a performance to be missed.

Final thought… Thank You, Dad from Rapid Lemon Production is a fresh look at a story that has fascinated us for over four decades. It’s such a poignant story about lost, disenfranchised souls and the man who led them to death. How could this not be great fodder for a stage play? Wetzel takes all the facts and weaves a brilliant script, wisely keeping it simple as a one-man show. Ibale and company’s Direction and Bankerd’s performance are top-notch and the production, as a whole, is to be commended. You seriously do not want to miss this kick off production of the new Rapid Lemon Productions season. Get your tickets now!

This is what I thought of Rapid Lemon Productions‘ production of Thank You, Dad… What did you think? Please feel free to leave a comment!

Thank You, Dad will play through January 20 at Baltimore Theatre Project, 45 W. Preston Street, Baltimore, MD. For tickets, you can purchase them at the door or online.

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

Posted on January 15, 2018 by Jason

By Jason Crawford Samios-Uy
LiaBTH - graphic sq
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!

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.

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.

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.

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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PRESS RELEASE: Rapid Lemon Production presents the Regional Premiere of Love is a Blue Tick Hound

Posted on December 5, 2017 by Jason

For Immediate Release:
Regional Premiere of Love is a Blue Tick Hound

A new collection of four one-act plays by local author Audrey Cefaly
January 12-21 in Baltimore and February 9-17 in Washington, DC

BALTIMORE, MARYLAND December 4, 2017 — Rapid Lemon Productions will present the regional premiere of Audrey Cefaly’s Love is a Blue Tick Hound this winter as part of the Women’s Voices Theater Festival. The production is a collection of four 20-minute plays, three of which have received New York premieres and all of which have won multiple festivals throughout the U.S. and Canada.

Performances January 12-21 at Baltimore Theatre Project, 45 W. Preston St., Baltimore, MD 21201. Phone (410) 752-8558. Online www.theatreproject.org.
Performances February 9-17 at the Trinidad Theatre, Logan Fringe Arts Space, 1358 Florida Ave. NE, Washington, DC 20002. Phone (866) 811-4111. Online www.capitalfringe.org.
Love is a Blue Tick Hound is presented by special arrangement with Samuel French, Inc.
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About the Company. Rapid Lemon Productions is a not-for-profit ensemble company whose mission is to encourage growth in the performing arts by developing and presenting new work by local playwrights. www.rapidlemon.com
For more information:
Max Garner, Managing Director
rapidlemon@gmail.com
(443) 832-8178

Review: Voices in the Rubble and Endgame at Rapid Lemon Productions – The End of the World as We Don't Know It

Posted on May 16, 2017 by Jason

By Mark Briner

Run time: Approximately 2 hours and 15 minutes with one intermission
Director Lance Bankerd pairs a contemporary play by award winning Irish playwright Darren Donohue with an absurdist classic by Irish avant-garde master Samuel Beckett and delivers an evening of comic highs and depressing lows in two oddly complementary works about searching for meaning in a meaningless world.

Zack Jackson and Lee Conderacci. Credit: Rapid Lemon Productions

The opening act, Dononhue’s Voices in the Rubble is a manic take on the absurdities of everyday life, marriage, the workplace, and unrealized dreams. Bankerd takes an inspired directorial take on the piece, framing the farce in the device of an idyllic 50s sitcom, albeit one on LSD. He creates an anti-Ozzie & Harriet if you will, if Ozzie and Harriet were dissatisfied, sexually out of control suburbanites of questionable mental health and David and Ricky may or may not be dead in the fridge. Lee Conderacci and Zack Jackson portray Tony and Avril, a married couple who have each lost their way and in the process discarded their values, their virtues, and all sense of discretion. Opening with a cheery, stereotypical “Honey, I’m home!”, in place of the expected trite “How was your day?” banality, Tony greets Avril with the news that he has been fired from his job for having sexual relations “in flagrante delicto” with his secretary. Avril counters that she may have killed the mailman (or the milkman, or his brother, or….) and stowed him in the refrigerator. Conderacci and Jackson flit back and forth in rapid fire scenarios that reveal their frustrations, their abandoned dreams, their loss of purpose, and, through it all, their unquestioning love in the face of their many sexual dalliances and possibly criminal activity. Bankerd filters this all through the wholesome values and suburban perfection of classic American television. Equal parts Ozzie and Harriet, Burns and Allen, and Lucy and Ricky, this pair spins a dizzying story of the events of the day, their marriage, and desperate future in the context of a standard 30 minute sitcom episode (minus commercial breaks, of course). His actors are gamely on board embracing his vision, aptly changing directions and emotions in the brief pauses where the laugh track would traditionally be inserted. Aided by Matthew Lindsay Payne in the stock role filled by the wacky neighbor, albeit in this case one who doesn’t live next door but in the couple’s refrigerator. His George compounds Tony and Avril’s absurdity as his identity develops after his introduction as Avril’s intended victim, killed and stuffed in the fridge. The three, eventually joined by Bankerd himself as the Man, a critical cameo whose identity is best left for the viewer to learn, all play exceptionally well off each other in the manic style Bankerd has developed without losing any sincerity of the characters’ journeys, arriving in the most decidely unorthodox sitcom ending ever (not counting that horrible Will & Grace finale). Sebastian Sears and Deana Fisher Brill also deserve praise for providing minimalistic set pieces and costumes respectively that handle the constriants of the small performance space but hit all the right retro notes as far as style and colors to enhance Bankerd’s vision.

Cast of Voices in the Rubble and Endgame. Credit: Rapid Lemon Productions

During intermission, the performers move the dressing room to the set and prepare with their makeup artists for the more demanding apocalyptic visuals of the act to come. This allows the audience to subtly shift gears in preparation for an experience that thematically complements where they’ve just been but approaches it from a distinctly different angle.
Bankerd blends this performance art choice seamlessly into the start of the second piece, where Payne transitions into protagonist Clov in front of, and with a costume assist from, the audience. He adeptly (through a nearly ten minute dialogue free pantomime) scours the world he now embodies like a post-apocalyptic dumpster diver acquiring supplies for the day to day survival of his makeshift nuclear family back home. His return couldn’t be any further from “Honey, I’m home”, but more of a soul crushing “Omigid, I’m in Hell.”. The dark nucleus of his family is Hamm (Jackson), who took Clov in as a child, but now sits angrily in the center of a room, blinded and confined to a wheel chair, perpetually wallowing in his helplessness and bitterness, and Hamm’s senile parent’s Nagg (Bankerd) and Nell (Conderacci), both of whom have lost their legs and live in separate side by side trash bins. (Don’t ask. Beckett.) The foursome take the audience on a jouney through their hopeless lives and lost histories. They are a study of four free falling souls adrift in the world, frequently detesting yet always depending on each other. They are physically contrasting incomplete individuals who each possess pieces of what the others have lost. Clov has a disability that leaves him with constant pain in his feet, legs that barely work, and the inability to sit down. Hamm is confined to the chair, thus can’t stand, and depends on Clov to be his legs and eyes. The parents depend on Clov to be their legs and provide their very sustenance, and for Hamm and each other to be their fading memories. The four embody all the stages of life in a world that ceases to exist as we know it, almost as the upside down, inside out, thoroughly devastating version handed us by the ancient Greeks. Clov is a young man who is physically unable to exist on his own, facing a future of nothing but pain and despair. Hamm is the middle aged man who is stranded in a bleak life he never planned. Nagg and Nell are a sad, pathetic pair representative of life on the decline, their bodies, minds, memories, and basic humanity failing them daily, the only comfort to look forward to is their impending release from it all by death.

Lee Conderacci, Zack Jackson, and Matthew Lindsey Payne. Credit: Rapid Lemon Productions

Bankerd’s inspired pairing of the two pieces works for thematic purposes. He traces historically a path from the classic beginning of Beckett to an evolution of those themes via Donohue present day. Bankerd elaborates, “Both deal with the existential woes of finding meaning in a meaningless world. they share themes of routine, repetition, and people being trapped,” in these instances literally as well as figuratively. He describes the evening as an elevator ride. “Voices takes you a few floors down. Endgame cuts the cord.” In Bankerd’s able hands and finely focused vision, that elevator ride plays more like the Tower of Terror.

Zack Jackson, Lee Condericci, and Matthew Lindsey Payne. Credit: Rapid Lemon Productions

Placing the two pieces together in repertory gives Bankerd two dual challenges. Voices, on one hand, requires him to interpret and visualize the world he finds on Donohue’s pages. Beckett, on the other hand, is a rare playwright that is adamant about his staging, providing stage direction and set design specifics, and has freely bashed productions who have strayed from them. Thus for the second act, Bankerd is required to filter his interpretation and visualization through the author’s concrete demands. The combination also gives the quartet of very talented actors two totally disparate vehicles in which to display their range and depth by either playing off or contrasting their two characters. Jackson at the center of each piece (quite literally for the second) is a capable and dynamic core off which to build. We watch Tony in Voices spiral out of control as he eventually comes face to face with his uncertain future. In Endgame, he displays the contempt and devastation of a man whose uncertain future has become a dreaded reality. Conderacci provides a subtle continuity. Her Nell is a Blanche duBois-like faded version of Avril, desperately depending on the kindness of others. Her Avril desperately clings to any vestige of her unattainable dreams before it is too late. In her Nell, we see a woman whose dreams not only never materialized, but the cruelties of aging and the world have assured they never will. We mourn for her yet are touched by her as the lone instance of the world’s lost gentility and refinement she retains. Bankerd is the culmination of the roller coaster comedy in Voices, and the extremely welcome sole voice of comedy in Beckett’s dreary world. An equally accomplished actor as he is a director, Bankerd unquestionably succeeds playing characters almost twice his age in both pieces, hopefully alluding to a long future for him on stage as well as behind the curtain. Payne however in a showdown wins the evening for displaying sheer range and acting prowess. His manic performance in Voices alone requires continuous flexibility and adaptability as Avril and Tony change the parameters of his existence with exhausting frequency. But in Endgame, his pathetic and emotionally wrenching portrayal of a young man trapped in a life of misery and despair, chained to people and situations that can only be remedied via death, his emotionally devoid performance is ultimately heartbreaking.

Lee Conderacci, Zack Jackson, and Matthew Lindsey Payne. Credit: Rapid Lemon Productions

Bankerd and company succeed in combining both of these works and exploring the meaningless in which they have completely thrust themselves. Voices in the Rubble allows us to laugh at the comic potential of what such an existence represents. In Endgame, they beat us down with the dread of what such an existence truly is.
This is what I thought of Rapid Lemon Productions’ production of Voices in the Rubble and Endgame… What did you think? Please feel free to leave a comment!
Voices in the Rubble and Endgame will play through May 21 at Rapid Lemon Productions, Motor House, 120 W. North Avenue, Baltimore, MD. For more information, go to www.rapidlemon.com or purchase tickets online.
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