Karen Li’s From East, Like the Sun, directed by Jalice Ortiz-Corral, is an ambitious, emotionally charged play set in California, nestled near the ever-symbolic Golden Gate Bridge. It’s a work that wants very badly to say something important — about housing, family, history, race, and belonging — and at times it succeeds. But just as often, it buckles under the weight of its own ideas, resulting in a theatrical experience that is entertaining, well-acted, and deeply chaotic.
The central plot revolves around Lake, a white woman, played by M. Eden Walker, fighting to save her home, a house that shelters her Asian American husband, Charlie, played by Tevis Tsai, and their biracial son, Sammy, portrayed by Daniel Lin. Her mission expands beyond her own family as she attempts to rally the surrounding community to control rent prices and keep housing affordable. On paper, this is timely and compelling subject matter. Housing insecurity and gentrification are real, urgent issues, especially in California. However, the execution quickly becomes muddled. The story frequently shifts focus, diluting its emotional impact and leaving the audience unsure whose story this really is.
Layered into this already busy narrative is a ghost, played by Eric Christian Panuela, a man from the 1800s who lost the love of his life and ultimately died waiting for her return. His spectral presence lingers as he attempts to bring his forgotten story to light, adding a historical and supernatural dimension to the play. While this storyline is intriguing and occasionally poignant, it often feels like a separate play entirely. I will admit, I did really enjoy the layering in of the historical aspects. It made history fun and gave the play substance. The ghost’s longing is clear, his heartbreak palpable, but his connection to the modern housing struggle feels tenuous at best. Rather than enhancing the main narrative, his story contributes to the overall sense of narrative overload.
There is also a friendship between two boys woven through the play, meant to ground the story in innocence and hope. This relationship is sweet and at times genuinely touching, offering brief moments of calm amid the theatrical frenzy. Unfortunately, like many elements of the production, it never feels fully developed before the play moves on to the next monologue, the next revelation, the next tonal shift.
The performances are largely strong. Kay-Megan Washington, as Roslin, is clearly a capable actor, and her commitment to the role is evident. However, her character is one of the production’s biggest missteps. The characterization feels wildly inconsistent, almost as if the playwright could not decide who this woman was supposed to be. One minute, she is abrasive, entitled, and deeply unlikable, a near caricature of a “Karen.” The next, she morphs into a poignant, almost wise figure dispensing moral clarity. The transformation is jarring and unearned. People can change, yes, but this shift happens without emotional groundwork, leaving the audience confused rather than moved. Washington does what she can, but the writing does her no favors.
Caleb Madison, on the other hand, is an absolute joy as Ellis. He is extremely funny, effortlessly charming, and undeniably talented. His comedic timing is razor-sharp, and he brings a natural ease that makes every scene he’s in more enjoyable. Even when the play veers into questionable territory, Madison remains grounded. His performance feels honest and alive, a bright spot in a production that often feels cluttered and unfocused.
Tonally, From East, Like the Sun struggles. There are moments that are laugh-out-loud funny, but it’s not always clear whether the humor is intentional. Some scenes provoke laughter because they are absurd or not credible, rather than cleverly written. This ambiguity becomes distracting. The monologues, of which there are many, are often too long and too numerous. Instead of deepening character or advancing the story, they stall the momentum. By the end, the audience may feel emotionally exhausted rather than fulfilled.
Most disappointing is the play’s reliance on tired tropes. The “white savior” narrative looms large, undercutting what could have been a more nuanced exploration of community activism. Even more troubling is the portrayal of the Black woman character, who comes across as villainous, harsh, and emotionally thin. She does not feel authentic or fully thought out; instead, she serves as an obstacle rather than a person. Seeing this familiar trope playing out yet again is not just frustrating; it’s upsetting, especially in a play that positions itself as socially conscious.
Under Jalice Ortiz-Corral’s direction, the production leans fully into its theatrical excess. While this allows for some bold moments, it also cries out for restraint. With tighter pacing, fewer monologues, and clearer narrative focus, From East, Like the Sun could have been something truly powerful.
As it stands, the play is extremely entertaining in spurts, buoyed by strong performances, especially Caleb Madison’s, but ultimately undone by its lack of cohesion. This play wants to be so many things at once, and in trying to do so, it never quite becomes what it could have been. The sun may rise from the east, but this story struggles to find a clear horizon. Still, it is a good night out because it will spark a lively conversation afterward.
Running Time: Two hours, plus one 15-minute intermission.
From East, Like the Sun plays through January 25, 2026, presented by Rapid Lemon Productions, performing at The Strand Theater located at 5426 Harford Road, Baltimore, MD. Purchase tickets ($10–$25, general admission) online.
From East, Like the Sun
By Karen Li
CAST
Chao Yi, “the ghost”: Eric Christian Panuela
Sammy: Daniel Lin
Ellis: Caleb Madison
Charlie: Tevis Tsai
Lake: M. Eden Walker
Roslin: Kay-Megan Washington
CREATIVE/PRODUCTION
Director: Jalice Ortiz-Corral
Stage Manager/Assistant Director: Janis Hannon
Set Designer: Steve Sawicki
Lighting Designer: Martin Sundiata
Costume Designer: Rowan Gardner
Sound Designer: Max Garner
Combat/Intimacy Director: Mel Gabel
Assistant Stage Manager: Jacqueline Glenn
