LEMONS LEMONS LEMONS LEMONS LEMONS
What could you do in 140 words? Order a takeaway? Do your job? Protest? Tell someone you love them? Give a eulogy for a dead cat?
A gag law limiting the country to 140 spoken words a day forces young couple Oliver and Bernadette to find different ways to understand and communicate with each other: abbreviations, Morse code, intense staring, sex, lemons, lemons, lemons, lemons, lemons.
This world of linguistic austerity requires difficult decisions to be made, with no room for soft words, and the couple has no choice but to face head on the distance that has grown between them.
Sam Steiner’s smart romantic comedy about the beauty and preciousness of words and the private language we share with those we hold dear received rave reviews and multiple awards at the Edinburgh Festival Fringe in 2015, 2016 and 2017.
Additional performance scheduled Sat 3 Mar 4.30pm
With thanks to the Robertson Trust for their support of Actor Intern Nicholas Ralph.
Date Time Information 28 Feb 7.30pm 1 Mar 7.30pm 2 Mar 7.30pm 3 Mar 2.30pm 3 Mar 4.30pm 3 Mar 7.30pm
Cast & Creative Team
Writer - Sam Steiner
Director - George Nichols
"With a smart sense of humour and two relatable, vivid characters, it’s far more than a single-idea play, but that idea is remarkable nonetheless... one of last year’s smartest, coolest shows’"
- The Stage, 2016
"A play about uncertainty of what’s to come and how to cope… The text is a joy and the point is relevant to us all... Sam Steiner’s script is punchy, intelligent and a product of simple observations which make up the everyday essentials of human life"
- A Younger Theatre, 2016
"a play about wasted breath, about reading between the lines, about the infinite power of words, and about the times when words are simply not enough. It’s an original, touching, charming thought experiment."
- Reviews Hub, 2016
"it's a beautiful play about the beauty and preciousness of language"
- Time Out, 2015
"a tightly written love story that widens into an exploration of free speech"
- The Guardian, 2015