By Doug Iden
In a regional premier written by Brit Sam Steiner, Lemons Lemons Lemons Lemons Lemons bears fruit at the Falcon Theatre.
Plot and Characters of Lemons Lemons Lemons…
In a time-shifting presentation, Oliver (R. Graham Rogers) meets Bernadette (Natalie Hayslett) in a Cat Cemetery which spawns an on again, off again relationship. Bernadette is a British lawyer with mixed success but is, philosophically, concerned about a law which is being discussed which would limit the number of words anyone could speak to 141 per day. A central conflict exists because she must follow the law but wonders how she can successfully communicate. Lawyers use language a lot.
Oliver, apparently an unsuccessful writer of advertising musical jingles, seems more concerned, almost obsessed, with protesting about everything but especially the proviso against “excessive” language. Protesters use a lot of words as well. Despite continual protestations of love for Bernadette, OIiver often seems emotionally detached and incapable of completely divorcing himself from his ex-girlfriend, despite many questions about her from Bernadette.
An important scene comes, literally, minutes before the word prohibition takes effect when both express their inner turmoil, inhibitions, frustrations, and confusions about each other. One of the few times they seem to be honest with each other. In an interesting ongoing element, each character voices numbers which informs the other how many words remain to be spoken that day.
Themes
What is the power which language holds over us? Could any of us live life, conduct business, maintain personal relationships, and exude creativity if confined to 141 words per day? Is this censorship? Is it control? Oliver states that the “working class” would be more affected by the diminution of language than the upper classes. Right or wrong? (British “classes” are more driven by birth status than economics as in the US.) Many of these questions are asked but few are resolved.
Design Team
This is a classic of minimalist theater. Ted Weil’s set design comprises a curved curtain which extends towards the back of the stage. A rug adorns the floor. Both characters are clad in black, almost gothic, designed by Averie Shutters. Oliver wears a tee shirt depicting a man’s face with tape over the eyes and mouth.
The story evolves in a nonlinear fashion with very short scenes delineated by a combination of lighting flashes (Chad Brinkman) and sound (Ted and Samantha Weil and Liz Carman). Dialect Coach Kate Glasheen induces believable British accents. Director Liz Carman crafts a production which allows the audience to follow the story. Because of the time-shifting structure, rapid scene changes, and instant character mood shifts, the acting is difficult but handled expertly by Rogers and Hayslett. Within moments, the actors must shift from laughing, to crying to romancing to anger while the plot bounces around in time. Further the actors are constantly moving so the blocking is crucial.
Overall
This is an excellent, provocative, thought-provoking play which will stay with you for a while.
As an audience member, you need to pay close attention to the plot and the character arcs.This is not a “sit back and enjoy while the play wafts over you” production. You may need some “Lemon Aid” to follow the plot. The themes are challenging and the plot is difficult to follow. However, the play is, subtlety, more about ideas than people, although a central conflict addresses the imperative of solid communication to maintain good personal relationships.
Ticket Information for Lemons Lemons Lemons…
So, grab your redacted dictionary and protest signs and enjoy some Lemon Zest while attending Lemons Lemons Lemons Lemons Lemons at the Falcon Theatre running through November 22. Click HERE for ticket information.
