Articles Tagged With: Tatiana Nya Ford

Variations on Sacrifice at Rapid Lemon Productions

Sacrifice Your Sour Outlook and Enjoy Rapid Lemon’s Variations on Sacrifice at Theatre Project

Rapid Lemon Productions presents the annual “Variations” collection; this year’s production is directed by Lance Bankerd. The theme this year, chosen by last year’s audiences, is Sacrifice. Baltimore Theatre Project is housed in a building that is 125 years old, and we find it significantly more comfortable on a summer evening than on a winter afternoon.

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Two Rooms at Green Globe Theatre

This past Saturday I found myself in a church on Clinton Street, in a hall where one would expect to be voting or watching an Easter pageant rather than seeing a show. Tucked to one side of the room is a stage made of recycled flats and platforms, dressed with sustainably sourced materials; on it, four actors and a first time director mount a production of a nearly thirty-year-old play that was as moving,

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Abracadabra: A Prestige of Playwrights from Variations on Magic: Tatiana Nya Ford

“Children seek magic because they look for it.” –Christopher Moore

J.M. Barrie once said something like the moment you doubt your ability to fly you will never be able to do so ever again. What is it about believe that so strongly tethers us to the magical world? What would you believe in if the world was ending? Magic? Faith? Humanity? Exploring what the fourth playwright of this year’s Variations on Magic has put forth in her ten-minute selection,

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Reasons To Be Pretty at The Green Globe Theatre

We all have a different perception of what real beauty is. We all have our reasons to be pretty; there are people we make ourselves pretty for; there are people who we let define where we fall on the scale of ugly to pretty. But beauty has its price, just like ugly does, and it’s a steep price to pay regardless of which side you’re on. Neil LaBute’s Reasons to be Pretty explores this dark and dangerous notion of external beauty through heavy humor and deeply dramatic twists in the way only a Neil LaBute play can.

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