ANDY HEDGECOCK sees his scepticism lessened by a story is more complex and far-reaching than is initially apparent
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Words words words
MARY CONWAY wonders if a single absurd concept is enough to sustain a drama, however beautiful the actors
SKILFUL: Aidan Turner as Oliver and Jenna Coleman as Bernadette
[Johan Persson] 
MARK TURNER holds on tight for a mesmerising display of Neath-born ragtime virtuosity
ALAN MORRISON introduces a UK poet whose despised daytime occupation provides the subject for his writing
MARK TURNER wallows in the virtuosity of Swansea Jazz Festival openers, Simon Spillett and Pete Long
PAUL DONOVAN recommends three new books that explore the human relationship with nature
Doomed adolescents, when the missing person is you, classic whodunnit, and an anti-capitalist eco-thriller
Lemons Lemons Lemons
Harold Pinter Theatre
IF I’d read this play before I saw it, I’d never have tipped it for the West End stage… which just goes to show what the charm and star quality of two handsome actors can do.
Heartthrob Aiden Turner of Poldark fame smiles and strolls his way through a deceptively tight and skilful performance as if he’s wearing a pair of cosy slippers, while Jemma Coleman (of Doctor Who and Victoria) keeps us on our toes with her easy physicality and warmth in this fast-moving, multi-scene bonanza. For the audience it feels like a private evening in the company of beautiful people, which is, it seems, sufficient to make it the blockbuster it is.
The play by Sam Steiner hinges on one single, frankly absurd, idea: that the government has, for some inexplicable reason, passed a law that rations language. 140 words is the daily limit per person. If this is enforceable, I’d like to know how.
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MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
