Variations On Night: Ten-minute Play Fest Spotlights Surrealities of Life at the Strand Theatre
BALTIMORE — I seriously doubt that whoever coined the phrase, “Nothing good happens after midnight” was stressed about sharing their sleeping arrangements in post-shower shifts. Nor were they concerned that an AI chatbot might suggest bizarre edits to a 16th Century theological classic. Or that budding adolescence could include an unwelcome physical segue into the irksome insect kingdom. Luckily – thanks to an 8pm curtain at the Strand Theatre – Baltimore area audiences can contemplate twelve such tales well before bedtime in Variations On Night – the latest offering by Rapid Lemon Productions.
Skillfully directed by Lauren Davis (The Book of Grace, 2024), Variations On Night is the 21st installment of the annual Variations Ten-Minute Play Festival In Baltimore. Variations features plays by Felicia Barr, Janis Beltran, Tad Cleaves, Dwight R.B. Cook, Iman Michele Dancy, Isaiah C. Evans, Clarinda Harriss, Allegra Hatem, Jalice Ortiz-Corral, Meri Robie, Jonathan Tycko, and Kristen Wheeler. The talented ensemble of Pablo Akira, Isaiah C. Evans, Devon Michelle Hernandez, Anthony Ross Ocampo, ReginaGinaG, and Sarah Lynn Taylor bring the assorted scenarios to life.
Max Garner and his staff at Rapid Lemon have handled the reins of the Variations project since 2015. As those who follow the company will happily attest, Rapid Lemon seldom disappoints.
Given the nocturnal theme the various playwrights were working with here, it was no surprise that many of the short stories deal with the shadowy creatures which flutter amongst us. Vampire problems, in particular, enjoy a healthy (and often hilarious) bite of the proceedings at hand. But for every guffaw the flailing denizens of the dark evoke, there is an aching moment of introspection in the more serious vignettes.
“Son of My Son’s Son” by Dwight R.B. Cook, for example, tackles the thorny issue of family identity, as it juxtaposes faith with fatal reality. Similarly, “Fannan” by Ted Cleaves offeres a heartfelt chance for parental reconciliation through the measured council of a kindly patriarch. Also, on the serious side, is “The Switch” by Iman Michele Dancy, which looks at the choices children will make for themselves in light of their mother’s decline.
I’m not sure that a lonely monsters club pulls the heartstrings in quite the same way as “The Switch”, but in “Meeting at Midnight” by Janis Hannon you know things are bad when Frank’s monster lumbers into the room and stoically recounts his rejection by polite society. It may not be Bela Lugosi crying out, “Are we not men?” but who else could console a swamp creature who is the hapless victim of climate change.
A few of this critic’s other favorites are “Thanks Myrnis” by Felicia Barr; “Night Hawks” by Jalice Ortiz-Corral; “Who is She” by Kristen Wheeler; and “The Nicest Hotel in All of Iceland” by Allegra Hatem. One spoiler on “The Nicest Hotel in All of Iceland” is the place caters to vampires on vacation. Who knew that blood-lust could take a back seat to an aborted couples massage?
“Light Strikes a Deal” and “Light Strikes a Deal” (reprise) by Meir Robi offer the perfect bookends for this years Variations entries. And not surprisingly, “Another Dark Night of the Soul” by Clarinda Harriss was clearly the intellectual favorite.
Not into frightening, faceless creatures or damning family drama (two themes which, in real life, all too often overlap)? Then strap yourself in for the side-splitting crowd favorite of the festival, “Bar Noir” by Jonathan Tycko. My only regret, as Tyco’s rapid-fire tale unfolded, was that I hadn’t purchased popcorn at the concession stand. I mean, when a foxy dame with a world of troubles walks into a bar and immediately downs a double, you can expect a succession of equally haggard hooch hounds packing heat to be hot on her silver-tongued trail.
Which brings me around to the talented ensemble for Variations.
Performing in a 2-hour play allows an actor the breathing room to develop and maintain their particular character(s). Conversely, appearing in a succession of 10-minute plays calls for solid characterizations right out of the gate. Kudos to the casting team for bringing together the most pliable group of thespians I have seen in a while. Each actor truly shined in their stand-alone moments, while offering selfless support when their fellow actors took center stage.
My companion for the evening later said the ensemble reminded her of the cast of SNL, back when that show was consistently entertaining. That’s not a bad comparison – save for the fact that SNL really isn’t known for dramatic portrayals. Yes, the chatbot back-and-forth in “Another Dark Night of the Soul” is pretty absurd, but cast member Pablo Akira’s growing frustration as St. John of the Cross is what really sells the thought-provoking piece.
Continuing with the cast, Devon Michelle Hernandez is tasked with playing innocent, incredulous and self indulgent, and does every turn quite well. Veteran actor and playwright Sarah Lynn Taylor shines as a seasoned pro. Taylor moves effortlessly between bemusing, befuddling, bewitching and mildly annoying.
For a relative newcomer, ReginaGinaG offers a wide range of vivid characterizations. And a very talented Isaiah C. Evans appears throughout as the well-woven thread who ties the entire ensemble together.
A special nod to Anthony Ross Ocampo (Semper Fi).
Ocampo’s turn as Tyler in “Who is She” perfectly demonstrated the difficulty in building believable frustration within the limits of a ten-minute play. When his scene abruptly ends, and Ocampo rushes offstage headlong into fate, you may be shocked with what has transpired, but not surprised by the inevitability of it all.
If this production has any hiccups, they rest in that odd channel-surfing feeling of jetting in an instant between humor, pathos and the vicissitudes of life. Just remember, before you reach for the remote, that each short story has its merit as a stand-alone piece. And all are played exceedingly well. This production is worthwhile, entertaining, and highly recommended. Just grab some garlic, your crucifix, and packet of tissues if you’re going to see this show.
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Variations On Night: The 21st Annual Ten-Minute Play Festival In Baltimore runs July 11-27 at the Strand Theatre. Running time is about two hours and ten minutes with one 15 minute intermission. Please note that there is a sprinkling of profanity, and occasional flashing lights. The Strand Theater is located at 5426 Harford Road, Baltimore, MD 21214. Tickets are general admission, $25. A special discounted “Industry Night” performance is just $15, on Monday, July 14. Tickets are available at https://square.link/u/KuQG7swb or through https://www.rapidlemon.com/2025. Rapid Lemon Productions uses paperless ticketing – patrons’ names will be at will call on the date of the performance.
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Anthony C. Hayes is an actor, author, raconteur, rapscallion and bon vivant. A one-time newsboy for the Evening Sun and professional presence at the Washington Herald, Tony’s poetry, photography, humor, and prose have also been featured in Smile, Hon, You’re in Baltimore!, Destination Maryland, Magic Octopus Magazine, Los Angeles Post-Examiner, Voice of Baltimore, SmartCEO, Alvarez Fiction, and Tales of Blood and Roses. If you notice that his work has been purloined, please let him know. As the Good Book says, “Thou shalt not steal.”