MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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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
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New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
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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