Review: World Debut in Baltimore: FROM EAST, LIKE THE SUN, by Karen Li

Rapid Lemon produces the debut of FROM EAST, LIKE THE SUN, by Karen Li, directed by Jalice Ortiz-Corral. It plays at Strand Theater in Baltimore through 1/25/26. It explores themes of stability, opportunity, other-ness, connection and growth in a fresh way that feels completely natural and heart-wrenchingly honest.

The show begins with a monologue from a lone character, whose significance is not immediately apparent. This setup is followed by multi-character scenes which vary in tone as well as content. It is also not immediately evident how the different sequences fit together, though the relationships between the characters are quite clear. 

The characters themselves as Karen Li has written them are interesting, multi-faceted, real people characters. None of them are perfect. Each of them are relatable. The teenaged boys, played realistically by Daniel Lin (Sammy) and Caleb Madison (Ellis) are not, from the beginning, inherently likeable, though they are terrifically engaging. As the show progresses, we become more and more invested the boys, which, from the outset, is enhanced by the actors playing them. Daniel Lin as Sammy is earnest, sincere and steady, with an extremely expressive face. As Ellis, Caleb Madison, a fairly new actor, is a natural with high-octane physicality, an impressive vocal range and enviably instinctive timing. 

Tevis Tsai as Charlie and M. Eden Walker as Lake provide two very different versions of parenthood, and a tension of couple-dom that is sadly familiar. Tsai’s quiet delivery is no less impactful than Walker’s impassioned ranting. Kay-Megan Washington portrays Roslin, who is a rather unsympathetic archetype, with a deft hand, never overplaying the role into caricature. All of the actors are fascinating to watch- I say watch, though what I felt as an audience member was closer to engagement than observation- as they maneuver themselves and one another through emotional and physical obstacles that they often aren’t able to completely articulate, even to themselves.

Karen Li is a Baltimore-based actor/playwright, whose voice I first heard as the impassioned monologue of an abandoned fruit smoothie during Variations On Change (2022) at Motorhouse. She has a gift for natural conversation, even when the conversations are difficult, insulting or mystical. Her grasp of character voice is fascinating, and her gradual exposition of an unexpected mystery feels quietly inevitable. Director Jalice Ortiz-Corral credits the playwright with most of the tender moments in the show. Ortiz-Corral praises Li’s detailed stage directions and deflects compliments to her deft and gentle direction. Her excellent casting, however, is undeniably responsible for much of the play’s heart, charm and relatability. Assistant Director Janis Hannon also stage manages as well as operates the tech board. Many hats for one individual, and hats off to this capable theater asset!

I adore the set, by scenic designer Steve Sawicki, who gives us rustic- looking furnishings and floor-to-ceiling fabric shafts that look vaguely tree-like, vaguely column-like, semi-natural and quietly elegant. The set is suggestive rather than realistic, and it functions beautifully for sequences in multiple locations. Lighting by Lighting Designer Martin Sundiata is appropriate, subtle and includes a feature that very nearly becomes a character. Except for this one flourish, lighting is effectively done, without ostentation. The soundscape, by Sound Designer/Producer Max Garner includes environmentals, musical interludes and a gentle touch. It adds to the depth of the production without drawing focus to itself. Costume Designer Rowan Gardner gives to the characters a wardrobe which reflects their different approaches to life, which looks not like costuming, but clothing. 

Strand is an intimate venue- a single accessible restroom may have a line at intermission, so plan accordingly. Raked risers, though steep and possibly tricky for mobility-challenged patrons, provide a good view of the stage no matter where one sits. For Covid-careful theater fans, although masks are always welcome at Strand, on Sunday, January 18th, at a special "Masked Matinee" all audience members will be required to wear masks for the performance. Another special performance features a post-show talkback with the playwright on Friday, January 23. 

Strand has been a female-focused theater since 2010. Rapid Lemon Productions, headed by the admirably feminist Max Garner, has a strong history of inclusivity wherever its shows have been produced. Rapid Lemon’s residency at Strand adds variety and verve to Strand’s house-produced season https://www.strand-theater.org/our-season.html and includes Variations On Silence, the 2026 short play festival that has become a beloved Baltimore tradition. The kickoff for the Variations Project this year is January 17th, at Strand, from 2 PM to 5 PM, where potential playwrights, actors, producers, reviewers and interested parties of all sorts will convene to explore the notion of silence.

If you’re interested in pre-show food, I can from experience recommend both Silver Queen Cafe, which is across the street from Strand, and Lost In The 50s Diner, which is about 1 block to the north.

 FROM EAST, LIKE THE SUN is a multi-generational drama, a mystery, a comedy, a coming-of-age story, a social commentary and a captivating experience in nearly every way. This well-crafted story about basic humanity, relationships and redemption is a treat you’ll enjoy and remember. Don’t miss this lovely new work from a playwright who demonstrates great sympathy as well as great promise.

Photo: L to R- Caleb Madison and Daniel Lin as Ellis and Sammy. Photo courtesy of Rapid Lemon Productions

Running time: 2 hours 15 minutes, including one 15-minute intermission. One is permitted to bring snacks from the lobby into the theater. 

FROM EAST, LIKE THE SUN, produced by Rapid Lemon Productions, plays at Strand Theater  5426 Harford Rd. Baltimore MD 21217 Phone (443) 874-4917 or info@strand-theater.org

Thursday, Friday and Saturday nights are at 8 PM. Sunday matinees are at 2 PM. Tickets, $25, are available online.

On-street parking is free after 6 PM on certain parts of Harford Road. There is also a free Hamilton parking lot half a block away from the theater, behind Emma’s Tea Spot. 

Final Factoid: Chinese immigration to California is a complicated issue. The racism that accompanied the influx of Asian immigrants- Chinese people were at one point calculated to be around 25% of the work force during the Gold Rush- is distressingly simple, and continues to be a major factor in marginalizing folk of many descriptions.