Rapid Lemon Productions once again presents the Variations Project, a bill of 12 ten-minute plays on a common theme. This year’s offering is Variations on Silence.  This theme is somewhat loosely interpreted, as the playwrights obviously have something to say, and they use actors’ voices to say it. There isn’t, I must report, a preponderance of silence in the show. The exploration is of the silence of estrangement, distance, omission, dissociation, and unseen interventions. Some things that are presumed to be silent are given voices. A voice we should hear is silenced. The lack of silence is also explored.  ReginaGinaG, Jae Jones, Caleb Madison, Alexys Adams, and Steven Forrester in ‘Gus’ by Natasha Joyce Martin Thompson. Photo courtesy of Rapid Lemon Productions. About the theme: Silence was chosen by the conglomerate audience of 2025’s show, Variations on Night. One votes by stuffing cash into one of three glass milk jugs. There is no limit. Someone with well-lined pockets could absolutely buy this “election” by way of several bills of large denomination. This will not interfere with the free nature of this election. It is not one person, one vote — it is one dollar, one vote. As many times as you wish. Into one jar only, or all three. Anarchy? Probably not.  Speaking of anarchy and elections purchased by the highest bidder, some of these pieces are political or contain political elements. Nowadays, in far too many cases, simply surviving is a political act, and creating art even more so. It’s all handled well, delicately, and without unfair rancor, in my opinion, though as I’m an itinerant writer working in The Arts, you might make assumptions about my own leanings, and if you guessed right, you’d be wrong. This is to say I’m not precisely objective, and if you think Uncle Jethro from the Ozarks would hate this show, I’d trust your judgment. Do bring your other loved ones, though. One important thing about the Variations Project is that it encourages new talent to fiddle around. The Variations Project attracts new people to the scene, as writing and workshopping a ten-minute (or shorter!) play with a strong possibility of production is a nice lure. Though previous Rapid Lemon authors sometimes submit scripts in multiple years, new voices are truly appreciated. The audience gets to see a full-length show, with a variety of content — a dozen short plays! — high-quality writing and really entertaining ensemble performance. Actors who like the challenge (or delight) of playing multiple characters within a two-hour framework are given a chance to really shine, and oh, they do. Alexys Adams brings an appealing soft sweetness to each role, as well as sassy delivery. Cat Bustos is expressive vocally and physically, and infuses her characters with quiet intensity. Steven Forrester has a rangy voice and physicality, modulating up and down in tone and volume, with movements to match. Jae Jones has a grounded presence and understated action. Every line he speaks feels authentic. Caleb Madison is extremely versatile as both serious and silly characters of every age, ranging from goofy to elegant, and is just a lot of fun to watch. ReginaGinaG, who was memorable also in last year’s Variations, is flexible in character and emotional tone and isn’t afraid to play it over the top as needed. TOP LEFT: Caleb Madison in ‘Who Cares?’ by Alfonso Morales-Escobar; TOP RIGHT: Jae Jones, Caleb Madison, and ReginaGinaG in ‘Moving In’ by Allison Chen; ABOVE LEFT: Alexys Adams and Cat Bustos in ‘Save the Monarchs’ by Tia Nellie; ABOVE RIGHT: Jae Jones and Caleb Madison in ‘Can You Hear Me Now?’ by Wendy Matt. Photos courtesy of Rapid Lemon Productions. Director Janis Hannon has a deep understanding of the Variations process and product, having served the show in previous seasons in a variety of roles, including playwright and stage manager. She handles diverse material, some uncomfortably realistic, several genuinely outrageous, to create a balanced whole of an evening.  “The Void’s Had Enough of Your Noise” by Colin Tillery explores an unusual business and its consequences. “Things Unsaid” by Regan Marie Nelson looks at a shared experience that features withholding. “Can You Hear Me Now?” by Wendy Matt is an unsettling post-apocalyptic take. In “Voicemail” by Gabe Fremuth, recorded tech and a single onstage actor have a lot to say. “Moving In” by Allison Chen is a humorous take on a common experience. In “Body Language” by Taylor Leigh Lamb, an uncommon experience creates connection. “On Hold” by Douglass E. Smith Jr. reminds us that daily difficulties add up. “Save the Monarchs” by Tia Nellie features smart dialogue and a curious ending. “Who Cares?” by Alfonso Morales-Escobar is a direct-address monologue with a big ask. “Dark Matter Department of Community Services” by Deborah Carry-Amland introduces us to powerful forces that facilitate better conversational skills. “Waiting for You” by Mae Philippe-Auguste presents an under-explored aspect of a challenging relationship. “Gus” by Natasha Joyce Martin Thompson examines our daily barrage of personalized marketing.  Steve Sawicki delivers a set that works nicely for all of the action and provides surfaces for projections as well. Lighting designer Martin Sundiata gives us serviceable illumination with a few really nice “specials.” UMBC student Tim Clark designs the wardrobe for the cast, allowing them to become really distinctive personalities without anything seeming overly “costume-y.” A nod to an uncredited makeup artist, as the show has some very particular “looks” and the makeup is spot-on. Producer Max Garner’s sound design is embedded so cleverly that non-tech-nerd audience members might miss the magic.  I love that the Variations Project exists. I love the fresh take every year, the ensemble work and the collaborative nature of the whole thing. My love for new theater and my interest in new voices is exactly what the Variations Project is designed to engage, and Variations on Silence does it extremely well. Each year, each piece offers something you’ve never seen before. In my opinion, that’s a valuable commodity. Go and be surprised.  Running Time: Two hours, including one intermission Variations on Silence plays through July 26, 2026 (Thursdays, Fridays, Saturdays at 8 PM; Sundays at 2 PM), presented by Rapid Lemon Productions, performing at the Strand Theater, 5426 Harford Rd, Baltimore, MD, (443) 874-4917. Purchase tickets ($25) online or at the door. On-street parking is fairly easy if you arrive somewhat early.  Final Factoid: Because there are some worthy contenders that didn’t make it into the staged show, there are staged readings on Saturdays of additional Variations on Silence scripts. Buy your $15 ticket for the reading before Saturday’s show and make a whole day of it. ...read more read less