Theatre / Reviews
Review: Lemons Lemons Lemons Lemons Lemons
Its title uses up five words of this review, meaning that in the world of Sam Steiner’s intelligent play, I’d only have 135 words left – for the whole day.
Lemons Lemons Lemons Lemons Lemons’ premise is that the so-called Hush Law limits citizens to a daily word limit of 140 words – with special privileges for those working in law and government.
This imposition is seen through its impact on a couple, Oliver and Bernadette, played convincingly by Euan Kitson and Beth Holmes. They first meet, in a pet cemetery, on the cusp of the significant vote (remind you of anything?). Oliver is a passionate musician campaigning to have the law stopped; Bernadette is a less-interested trainee barrister.
Their speech is easy and fast and full of swearing and fillers and puns and jokes (“cheese is language,” they laugh, nonsensically) as they get to know each other and fall in love. As the inevitable law looms, they plan tricks to save their words, practising charades and Morse code. In the poignant last scene before the changeover, they tell each other a series of home truths, without really being heard: a sign that language has already started to break down.
But with just a smattering of words each day, the pressure is on. Sometimes they save them for each other, but other days there are just a few pathetic exchanges left.
Walrus’ production has plenty of funny moments, including quickfire retorts reminiscent of Catherine Tate, and the cues are picked up impressively slickly. This pair are comfortable in the characters and adept at playing them; as the tone changes to one of inevitable tragedy (or so it seems), the audience is right there with them.
This is perfect theatre: two actors, two microphones and one brilliant, topical play.
Lemons Lemons Lemons Lemons Lemons was at Tobacco Factory Theatres on November 18 and 19. For more from Walrus, visit www.facebook.com/walrustheatre
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