They say try and remember the good times, or think about the
good memories, when doling out advice for how to cope with the loss of a loved
ones. But good memories get ruined by grief; they make you wish you could
forget entirely. What if there was no more need for forgetting? What if loss
was no longer necessary? Enter Proxy, the last show on the Rapid Lemon stage
for their 2019 calendar season.
Recon— they don’t speculate. They observe and report. Sort
of like theatre critics. We don’t speculate— we observe and report. Observing
now: Crusade the only full-length production of the Baltimore
Playwrights Festival in the 2019 calendar year. Crusade, written by Bruce
Bonafede, is a world premiere making its debut in association with the BPF
through Rapid Lemon Productions at the Baltimore Theatre Project. (BPF, RLP,
BTP, over and out!) Directed by Timoth David Copney,
In Rapid Lemon’s Variations on
Myth, director T. P. Huth takes advantage of the emotional ride a series of
ten-minute plays can create if presented in an order that allows them to
strengthen one another. It is too often that a series of smaller plays is
presented as hors d’oeuvres, being consumed individually without thought to if
the first appetizes the audience for the second, whereas this collection of ten-minute
plays formed a cohesive experience.
Dada comes to Baltimore in the raw and intimate experience that is the world premiere of Terminal Lucidity, written by Amy Bernstein and directed by Melanie S. Armer. This work, presented by Baltimore’s own Theatre Project, brings to the stage a look at the dark and damaging political path America may currently be treading through the experiences of the women affected by the “monster in her midst.”
Dada in and of itself means… nothing.
Rapid Lemon Production’s production of Love is a Blue Tick Hound found a beautiful way to touch and create an intimate environment for the audience to grow a connection with each character on stage. Audrey Cefaly wrote four different plays that are displayed long enough to grow a bond with each character, whether that would be a waitress laying on the floor of an Italian restaurant or a man on his second date receiving an ear piercing with a potato in his hand.
To swim? Or not to swim! THAT is the question! And Fluid Movement has the answer with their annual summertime Water Ballet: SHARKESPEARE! Written collaboratively by Lynda Del Genis, Todd Gardner, Rachel Kassman, and Justin Sabe, with Kassman and Sabe serving as the show’s primary producers, this laugh-out-loud watery dorsal-fin approach to the Bard will have you in stitches with laughter over the terrible puns, the brilliant ideas, and in absolute awe at some of the synchronized swimming routines the execute in the vein of the Bard’s more popular tales.
Something is taking its course. I don’t know how I feel today. There is no one else. There is nowhere else. It must be an absurdist cycle. Rapid Lemon Productions, under producer Max Garner, presents an evening of absurdism at The Motor House in the Station North Arts District of Charm City. A double-bill of two one-acts that are threaded loosely together in their absurdism roots, the classic Samuel Beckett’s Endgame is paired with the American premiere of Darren Donohue’s Voices in the Rubble.
Her heart got broken. The car was totaled. He’s wildly out of control. Who’s to blame? In a world of helicopter parents, disasters beyond our imagination, catastrophe around every corner, isn’t the question always who’s to blame? Appearing on the stages of Baltimore City for its 12th Annual Production the Variations Project, produced by Rapid Lemon Productions, takes up residency for a limited run-performance in the Wright Theatre of the University of Baltimore. 11 short,