Lemons Lemons Lemons Lemons Lemons is not about Lemons – it is not even about Lemonade and it is certainly not, in itself, a Lemon. For anyone who speaks, for anyone with the right to speak, for anyone with the ability to speak, and for those that may not have these freedoms, this clever piece with have resonance.
This production is presented by Walrus Theatre Company after coming from success in the Edinburgh Fringe Festival in the summer. Now midway through their UK wide tour they have arrived in Cardiff (tour runs until November 19th) and are hosted by The Other Room, a company that is now a proven success in both hosting and producing fantastic theatre.
The play explores a hypothetical Orwellian dystopia whereby a ‘quietude bill’ is going to a vote in parliament, which will force people to only speak 140 words a day. Bernadette (Beth Holmes) is a trainee lawyer and as the play begins she meets Oliver (Euan Kitson), a musician and all round ‘good guy’, at a funeral for a cat, called Denis (the correct spelling of Denis, in case anyone is wondering).
This production is wonderfully, but subtly, layered with a whole host of themes; from political protest to the minutiae of personal relationships. As both characters struggle with the reality of the new law, they endeavour to say all they want or need to each other however, loving, or however scathing. The plays puts forward a central question ‘if you had just 140 words to say a day, what do you say?’ While, on the surface this play is about how Bernadette and Oliver, two opposites that attract and that have very different personal agendas, at the same time explores far more macro issues of civil freedoms; such as democracy and free will.
Euan Kitson (Oliver) and Beth Holmes (Bernadette)
Photo: Aenne Pallasca
Beth Holmes (Bernadette)
Photo: Giulia Delprato
The set is minimal with just two microphones on stands adorning the black box stage. At first I was worried that it may be an extension of a drama or improv class, but slowly, as the events unfold, the script, and its setting start to make sense. Initially, the aesthetic of the script may remind you of a ‘postmodern’ Martin Crimp or Sarah Kane structure, with random number flying about all over the place, perhaps not as mysterious or ‘in yer face’ but clever nonetheless.
Despite the small space the action feels very open and, at times, busy. Director Ed Madden has staged simply and this works extremely well as a catalyst for the script to be as present as it can be.
Beth Holmes (Bernadette) is excellent playing moments from falling in love to moments of frustration you can only achieve from a well established relationships – she achieves this particularly in her use of voice, perhaps ironically given the story of the play. The equally as good Euan Kitson as Oliver, showed the same moments of ease and tension, but more through his wonderfully expressive face.
This production, only being an hour-long, comes in a little package but is already having a big impact on the UK stage and the company show us why this is with their visit to the Other Room.
Runs at The Other Room until October 22nd
http://www.otherroomtheatre.com