Review: Lemons Lemons Lemons Lemons Lemons

Words by Mia Hassan / Edited by Mia Stapleton

Mia Hassan reviews Leeds University Theatre Group’s performance of ‘Lemons Lemons Lemons Lemons Lemons’ , at Banham Theatre.

TG’s rendition of ‘Lemons Lemons Lemons Lemons Lemons‘ by Sam Steiner, performed at the Banham Theatre from the 7th to the 9th of November, was a resounding success. Steiner’s play follows the lives of two characters, Bernadette (played by Marnie Tiga Prentice) and Oliver (played by Ben Greenwood), as they attempt to successfully navigate their relationship, societal change, and political oppression. Co-directed by the talented Eliza Christy and James Barr, with the great assistance of Lucy Lawrence, Steiner’s play was transformed into a theatrical masterpiece, a perfect fit for the National Theatre. I feel incredibly grateful to have witnessed such a phenomenal production. 

‘Lemons’ immerses its audience into a world where individuals are only permitted to 140 words per day, dramatically experimenting with speech and the power it holds, the weight it carries, and the silence it creates. The abundance of onstage chemistry between Prentice and Greenwood effortlessly brought this fictional realm to life– every look, touch, word, and sentence exchanged between the pair fashioned a dramatic depiction of a beautifully flawed and realistic relationship, which can be credited to the actors’ talent, the directors’ vision and intimacy director’s (Eden Vaughan) guidance. Bernadette and Oliver’s magnetic chemistry became the emotional anchor in this tale of restricted freedom and was only furthered by the actors’ astonishing performance; the delivery of lines, subtle facial expressions, and physical movement by Prentice and Greenwood was at the level I personally would expect of a professional theatre company, so us students are very lucky to have such talent gracing us here at Leeds! The audience became deeply invested in the two characters, experiencing their struggle, their pain, and their love right alongside them. This talented duo and the onstage relationship they gradually built, was so incredibly captivating and was adored by all who attended, proven by the frequent laughter, gasps throughout, and a standing ovation at the end of the performance. 

The concept of the set was incredibly innovative, with Christy, Barr, and Lawrence making the creative decision to initially have an all-white stage that slowly became full of life and zest (pun intended) as the play and the character’s relationship progressed. The set was a blank canvas that developed into a colourful and homely setting as the actors smoothly swapped the monochromatic stage props to pieces that were visibly brighter and more vibrant. Watching this gradual shift was extremely aesthetically satisfying and added layers of depth and intrigue to the plot through this unique physical transformation. The two main modes of lighting in this production are noteworthy as they perfectly accompanied the staging and set the tone and mood of each specific scene; the frequent shift from the rose-tinted lighting was symbolic of the pleasant and happy times in the couple’s relationship before the word limit, whilst the harsh white lighting represented the destructive impact of the word limit on the couple’s relationship. This seemingly minor detail is a vital cog in the incredible theatricality of this piece and thus ultimately contributes to its shining success.

However, the brilliance of this production isn’t solely in its stellar acting or impeccable set design; it’s in the way it resonates. The plot of this piece is overtly dystopian and examines the restriction of people’s rights which is unfortunately evident in our society and the world today, therefore making this piece feel all the more pertinent. This specific production depicts the anger, confusion, and the pain that individuals feel towards the limitation of human rights, and impeccably displays the imperative need for resistance and action.

Overall, TG’s version of ‘Lemons’ is a theatrical experience that blends magnetic performances, innovative staging, and societal relevance into a production that is not just compelling—but a resonant call to examine the power of words, the weight of restrictions, and the necessity of defending our freedoms. Bravo TG!

(Image Credit: Julian Tong)