6 / 10
The actors lack tangible chemistry, but both hold their own with convincing characterizations. Lemons forces the audience to contemplate the horror of a wordless life, but outstays its welcome. The intrigue of the concept is unexplored; it remains an idea, not a fully-formed conclusion.
6 / 10
On Robert Jones' clever set, with objects illuminated in the walls (lighting by Aideen Malone), they spar and dance and declare their love and anger. Annie-Lunnette Deakin-Foster's supple choreography and Rourke's direction move them fluently through the short scenes; one moment they are sitting in a crouch, the next seamlessly sprawled on the floor. They circle each other, weighing their next utterance. By the close, they simply sit, beginning to realise that compression can sometimes mean truth.
What did the critics have to say about Sam Steiner's 2015 play?
First performed in 2015, Sam Steiner’s Lemons, Lemons, Lemons, Lemons, Lemons is an intriguing idea; a love story played out under a new law that restricts every person to 140 words a day. There is a lot of potential, but it remains an idea, not a fully-formed conclusion.
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