Review: VARIATIONS, a Baltimore Constant, Ponders CHANGE in 2022

VARIATIONS, a Baltimore Constant, Ponders CHANGE in 2022.

The Baltimore theater scene: it's not just for old white folks nowadays.

Okay, sure there's plenty that's for old white folks. But in the Baltimore theater community, there's also representation, inclusion, diversity and opportunity. Since 2005, the VARIATIONS project, an annual collection of new short pieces, (ten minutes, -ish, some more, some less) offers local playwrights a chance to participate in non-profit community theater without the pressure of a full length production. It offers performers an opportunity to participate in several assorted roles over the course of an evening. It also offers audiences the opportunity to see something they've very probably never seen before and will almost assuredly never see again.

VARIATIONS ON CHANGE is twelve separate pieces of theater sharing the same seven actors. Several scenes are one-character monologues. Of the six pieces in Act I, only the most conventional among them works as a complete story, though a few others hint at potential with some editing or in the hands of different performers. Act II, however, has several pieces that impress.

This year's VARIATIONS carries the theme "change," chosen by audience vote during last year's VARIATIONS ON HOLIDAYS production. Some of the pieces really embrace the theme, while for others, it's a bit of a stretch. The writing varies. Some pieces are well written, complete stories, with believable characters and snappy or meaningful dialogue, whereas others clunk around searching for resonance, engagement or focus. The acting varies. The cast, a seven-person collection of ethnic diversity, is also body positive and gender/non-gender inclusive. The performers, though all seem to be late Millennials in age, represent a variety of talent and experience. What is uniform is the enthusiasm demonstrated by everyone involved in presenting unusual, speculative, obscure or envelope-pushing theater. Director Tracie Marie Jiggetts, given the non-congruous nature of the scripts, doesn't attempt to unify the show so much as give each scenario a separate ethos. Some of the short plays are smooth, complete pieces of theatre, featuring actors who connect with one another using excellent timing and appropriate pace; some seem less finished. The final piece, which involves all the performers, has cute costumes, but the message is oblique.

Jamal Kitchen Jr. is an earnest and convincing character in the surprisingly poignant Bright Creatures Of The Air by R.A. Pauli, where Crystal Sewell also shines. N.J. Saroff delivers high Shakespearian histrionics in Karen Li's Meltdown. Rocky Nunzio gives a solid, nuanced and subtle performance in Lily, Arthur, by Steven J. Satta. Isaiah Mason Harvey shows strong, flexible actor talent in each scene that he appears, including the deliberately silly Vote, by Victoria Rentz. Majenta Thomas is fun to watch as she transitions through a series of emotions and attitudes in Birthday Party by Jessica Rota. EN'B gives an emotive, communicative performance in To Love An Ass, by Malik Berry.

Learn more online about the actors, authors and production people in the online programme, or about Rapid Lemon.

With just a few set pieces in use for all twelve pieces, the aesthetic relies heavily on elements of lighting and sound for atmosphere. I like the use of projected photographs as backdrops and, despite the mostly sepia-toned palette, feel they do a good job of scene-setting. The lighting mostly does what it's supposed to do, though there are some pieces in which the shadows of the actors are distracting. I'm 100% in favor of up-close acting, but when actors come down from the stage so far as to be forward of the lighting, they lose effectiveness while performing in the dark.

Oliver Behrens' costume design is functional and even aesthetically pleasing in a couple of the scenes, but unfinished or haphazard in others. There is an incredibly beautiful and effective mask used in one piece, which in addition to being visually delightful, did not obscure the voice of the actor wearing it.

The North Avenue Arts district is undergoing transition, and not yet one of the super shiny parts of Baltimore. The deliberate graffiti art all over the outside of the Motor House venue is obviously a stylistic choice, not neglect. You may find street parking, and the city's pay to park period ends at 6 PM Monday through Saturday, which is not often the case downtown. Motor House's website encourages visitors to utilize the large lot directly behind it, which requires scanning a QR code, visiting a website or downloading an app to park there. That's a lot for my prehistoric self, so I'm grateful for the free street parking.

Motor House, formerly an automobile sales and showroom, includes in its footprint the Showroom Cafe And Bar, which is a bar/ nightclub/ restaurant/ rentable event space with special selections of food and beverage. It is also partially in use as backstage area during some performances, which makes this writer curious to come have a meal and watch the "show behind the show" sometime in the future.

Each audience member is afforded a good view from slightly padded stackable chairs set on moveable risers in the theater. This non-anchored seating feature gives Motor House the flexibility to rearrange its space according to the needs of each performance. This is my third or fourth visit to Motor House, and each time, the configuration has been different. I like this about the venue.

There is one short intermission, the length of which might be determined by how many people purchase drinks in the Showroom Cafe. Bringing them into the theater is permitted, though the audience is advised to remain masked during the performance. This sort of dichotomy of caution and practicality seems likely to become standard behavior and I suppose learning to deal with it is an imperative of peaceable existence. Motor House also functions as an art gallery, with art exhibits both for sale and not for sale. They're eye-catching and colorful, at least, the current ones are. The restrooms are gendered. This is not something I would have thought to mention four years ago, but I do now. Ehrm... progress?

The VARIATIONS project is an important construct in the Baltimore arts community. Rapid Lemon is to be commended for its continuation and increased visibility over the years. The commitment to inclusion of everyone in the Baltimore community, as well as presenting unusual, envelope-pushing theater is of no small consequence. I didn't identify with everyone in the cast, nor was I meant to do. I did identify with several cast members, for different reasons, and have only recently begun to think about this as privilege. It's one everyone deserves, and in VARIATIONS, they find it.

Rapid Lemon presents VARIATIONS ON CHANGE

at Motor House

120 W. North Avenue, Baltimore, MD

September 16 - October 2

8:00pm on Thursdays, Fridays, and Saturdays

3:00pm on Sundays

Tickets $18

Max Garner, Managing Director

Rapid Lemon Productions, Inc.

120 W. North Avenue, Suite 305C

Baltimore, MD 21201

rapidlemon@gmail.com

(443) 832-8178

To post a comment, you must register and login.