Lemons, Lemons, Lemons, Lemons, Lemons – Opera House, Manchester

How would you express yourself if you were restricted by law to using just 140 words per day? This question forms the intriguing premise behind this 2015 play from Sam Steiner which attempts to utilise the format of a romantic comedy to examine more serious subjects around freedom of expression and speech. However, in this endeavour, ‘Lemons’ felt underripe; a series of half explored ideas that were not fully thought through and left the audience with a sour taste at the conclusion.

Following a commercially successful run at the smaller Harold Pinter Theatre in the West End, producers chose to open this Manchester run in the cavernous 2,000 seat Opera House. A decision that was no doubt powered by the demand to see the leading actors Jenna Coleman and Aidan Turner live onstage, was vindicated by a packed house on the opening night. It was noticeable the number of younger patrons bearing Dr Who merchandise, only outnumbered by women in the house sighing at the prospect of seeing ‘Poldark’ in the flesh, definitely not the typical audience for a wet Tuesday press night!

However, much was gained in revenue from the capacity crowd, as an artistic decision this was nothing short of disastrous. The size of the theatre and stage only emphasised the plays original Edinburgh Fringe roots, the production looking small and lost, even with the attempt by Robert Jones to give it scale with his design. Add to this a sound system that was barely adequate to make the actors heard beyond the front stalls and the production was floundering before it ever got into its stride. Complaints were clearly audible (unlike the actors) and only the lack of an interval in the 80-minute show prevented people from leaving. Ironic that a play that is so bound up with the importance of the spoken word was unable to make itself intelligible to the vast majority of its audience.

Technical issues aside, there were some interesting ideas being addressed by Steiner; the power of words to effect change and protest and the double standard of a political class that asks a population to abide by rules it ignores itself, issues that were raised by the characters of Bernadette and Oliver but without any real follow through or resolution. The entire premise was never fully established, why was the restriction necessary and how was it to be policed if they just ignored it? These framing issues were underexplained and clearly confused an audience that was expecting a more simplistic romantic comedy and was instead presented with a time shifting dystopian fantasy.

The attraction for Turner and Coleman to lead this production was obvious, the opportunity for a ‘two-hander’, especially one that ostensibly deals with weighty political ideas is irresistible to most actors. Since the pandemic we have had a plethora of ‘a deux’, with ‘Lungs’ and ‘Constellations’ both being produced in London, and the recent success of ‘Beginning’ at the Royal Exchange showing how powerful this format can be in the right hands. However, both performances this evening seemed to lack the requisite anger, whether it be Oliver railing against the iniquity of the new laws, or Bernadette displaying the fire of a working class girl made good, it felt too safe. There was no jeopardy to be found in the relationship and consequently by the conclusion we had no emotional investment in the outcome.

Being ‘sold a lemon’ is defined as selling something without revealing its faults and flaws, and this transfer is definitely both faulty and flawed in both idea and execution, the Manchester audience walking back up a rainy Quay Street afterwards clearly agreed.

Playing until 25th March, https://www.atgtickets.com/venues/opera-house-manchester/

Reviewer: Paul Wilcox

Reviewed: 21st March 2023

North West End UK Rating: ★★