Review of ‘Bitter Lemons’: “The unsqueezed sweetness of maturity”

The Park Theatre welcome the London return of Lucy Hayes’s 2023 play, returning to the scene after a sold-out run at the Edinburgh Fringe. Guillermo Nazara shares his views on the show, to let us know if its social conscious plot is prone to bearing fruit.

There’s only one unequivocal certainty about life – and that’s that it holds no certainties at all. Regardless of what we attempt or how hard we try, there’s nothing to be done when the strings of fate are pulled beyond our control. It’s then when our destiny is suddenly reduced to two options: we can either embrace what’s coming onto us, or fight it.

Lucy Hayes’s play is a child (no pun intended) of that second idea. Titled Bitter Lemons, the piece is a chant of resilience starring two women with completely separate paths – yet, serving as a reflection of each other as for the struggles they have (but most importantly, are about to) faced. Both professionals, both big dreamers – they’ve stepped and kicked (especially one of them) into their work fields with great expectations, but there’s one particular type that had not been contemplated in their list; at least, not up until now.

Presenting an engaging, rather promising, conflict, the script introduces us to the sour reality of unwanted pregnancy. Perhaps not the most original premise (and definitely, not the most surprising as for the way it’s brought up in the story), the writing still manages to deliver an engaging tale – achieved, mostly, through a well-paced, and generally compelling, flow of words that’s able to keep the plot’s evolution at a steady rhythm.

Developing two entirely opposite characters whose differences complement each others’ gears with sufficient ease (despite their journeys not converging until the very end), the play, however, doesn’t seem to take full advantage of their possibilities – endowing the personages with traits which, at some bits, feel slightly too archtypical. With a few too many predictable lines (especially, when it comes to its humour), the play is capable of extending its had into the viewer’s heart, but doesn’t secure a bond with them by blurring part of its authenticity through snippets that look too overused – at least, in the way they are depicted.

Though still moderately gripping all through the account, the direction relies on some debatable choices – which, though not dislikable, do not feel too satisfactory either. Playing with standing microphones at several moments, both its narrative and visual efficiency look rather questionable – too many times, giving the impression of having no other justification apart from doing it for the sake of doing it.

In any case, a whole lot of praise should be given to the leads’ deeply emotional performances. Starring Shannon Hayes and Chanel Waddock, both actresses exude tremendous presence and flair in their renditions – concocting extremely realistic, and occasionally touching portrayals which, despite the script’s tiny flaws, allow our jaunt as an audience to feel much more stirring.

Still an unfinished work that, in any case, flaunts some hints of grandeur, Bitter Lemons scoops enough pulp to bring adequate substance to its content, but requires more creative juices to find both a moral and an recounting fiber that can claim as its own. With quite an established basis, it’s just now the little details that are in need of more careful polishing, until the piece can get to the point it so committedly intends to, but so far barely scratches. It revolves around the acid flavours of life, and that’s why it should never, ever feel bland.

All pictures credit to Alex Brenner.

Bitter Lemons plays at London’s Park Theatre until 14 September. Tickets are available on the following link.

By Guillermo Nazara