by Diana Miranda
Two formidable younger ladies, Angelina and AJ, are on the verge of a giant promotion of their respective fields. Angelina, a cool-headed banker performed by Shannon Hayes, is getting ready for a pitch to safe a senior place. AJ, a fierce goalkeeper performed by Chanel Waddock, is coaching for a match that would make her the highest goalie in her staff. However, a go to to the physician reveals a situation that may derail each of their goals.
The play begins with Angelina and AJ preparing for work, going through one another as if wanting into their reflection. They don’t work together straight, however they mirror one another, organising a synched journey sure by witty line repetitions the place the coda of 1’s ideas turns into the start of the opposite’s. Through their parallel monologues, Bitter Lemon unpacks sexism, tokenism, and the taboos surrounding feminine our bodies—societal narratives that they should shake off to make life-changing choices.
The performances are electrifying. Both actors infuse unimaginable energy into their characters. Waddock’s explosive actions amp up her storytelling, excessive with the power of a career-defining match. Meanwhile, Hayes’ piercing but light supply captures the calculated restraint required within the cutthroat enterprise world, the place feelings should implode in favour of politically right behaviour.
Written and directed by Lucy Hayes, Bitter Lemons is nothing wanting engrossing. The razor-sharp play is a mix of highly effective imagery, comedian remarks, and emotional dives that make the abdomen plunge. The script tackles intersectional points with a deft hand, and the intricate narrative by no means feels tangled. The motion bounces between the characters as they navigate the invisible weight of microaggressions and others’ views till, finally, they discover empathy in an sudden encounter.
Roisin Martindale’s set design elevates the play’s themes. The stage is printed with a grid that evokes a calculated environment, virtually echoing AJ’s mantra as a goalkeeper: “Predict the future, don’t anticipate it.” At the again of the stage, a curtain with a reflective floor serves as a backdrop to the parallel journeys. As the writing strikes seamlessly between the 2 tales, the actors push round two silver stools in completely choreographed transitions towards a reflective backdrop.
As such, the set design, together with the dynamic staging, is a raucous echo of the way in which Angelina and AJ’s tales mirror one another, finally reflecting the broader experiences of ladies whose our bodies are politicised in numerous methods. The performers additionally tackle a number of roles and use mics to actually amplify the voices of people that cross judgment on their lives, be it a nagging mom, a condescending colleague, or a involved coach.
Hayes’ play had a smashing run on the Edinburgh Fringe final yr. Now, in its London debut, it follows the top of Camden Fringe and fills our coronary heart’s festival-shaped void with a narrative that sits properly amongst different current work offered within the North London competition – tales that amplify feminine narratives onstage and illustrates how sharing tales of feminine wrestle can foster empathy and assist, understanding that others have walked related paths. In a world the place ladies’s rights are being continuously contested, it’s invigorating to see theatre that cherishes and magnifies the joint energy of sisterhood and storytelling. Bitter Lemons does justice to urgent points that could be laborious to chew, delivering its message with each sensitivity and care.
Bitter Lemons runs by means of 14 September.
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