by Diana Miranda

Two ambitious young women, Angelina and AJ, are on the verge of a big promotion in their respective fields. Angelina, a cool-headed banker played by Shannon Hayes, is preparing for a pitch to secure a senior position. AJ, a fierce goalkeeper played by Chanel Waddock, is training for a match that could make her the top goalie in her team. However, a visit to the doctor reveals a condition that might derail both of their dreams. 

The play begins with Angelina and AJ getting ready for work, facing each other as though looking into their reflection. They don’t interact directly, but they mirror each other, setting up a synched journey bound by witty line repetitions where the coda of one’s thoughts becomes the beginning of the other’s. Through their parallel monologues, Bitter Lemon unpacks sexism, tokenism, and the taboos surrounding female bodies—societal narratives that they have to shake off to make life-changing decisions.

The performances are electrifying. Both actors infuse incredible strength into their characters. Waddock’s explosive movements amp up her storytelling, high with the energy of a career-defining match. Meanwhile, Hayes’ piercing yet gentle delivery captures the calculated restraint required in the cutthroat business world, where emotions must implode in favour of politically correct behaviour. 

Written and directed by Lucy Hayes, Bitter Lemons is nothing short of engrossing. The razor-sharp play is a blend of powerful imagery, comic remarks, and emotional dives that make the stomach plunge. The script tackles intersectional issues with a deft hand, and the intricate narrative never feels tangled. The action bounces between the characters as they navigate the invisible weight of microaggressions and others’ views until, eventually, they find empathy in an unexpected encounter. 

Roisin Martindale’s set design elevates the play’s themes. The stage is outlined with a grid that evokes a calculated atmosphere, almost echoing AJ’s mantra as a goalkeeper: “Predict the future, don’t anticipate it.” At the back of the stage, a curtain with a reflective surface serves as a backdrop to the parallel journeys. As the writing moves seamlessly between the two stories, the actors push around two silver stools in perfectly choreographed transitions against a reflective backdrop.

 As such, the set design, in combination with the dynamic staging, is a raucous echo of the way Angelina and AJ’s stories mirror each other, ultimately reflecting the broader experiences of women whose bodies are politicised in countless ways. The performers also take on multiple roles and use mics to literally amplify the voices of people who pass judgment on their lives, be it a nagging mother, a condescending colleague, or a concerned coach.

Hayes’ play had a smashing run at the Edinburgh Fringe last year. Now, in its London debut, it follows the end of Camden Fringe and fills our heart’s festival-shaped void with a story that sits nicely among other recent work presented in the North London festival – stories that amplify female narratives onstage and illustrates how sharing tales of female struggle can foster empathy and support, knowing that others have walked similar paths. In a world where women’s rights are being constantly contested, it’s invigorating to see theatre that cherishes and magnifies the joint power of sisterhood and storytelling. Bitter Lemons does justice to pressing issues that might be hard to chew, delivering its message with both sensitivity and care. 

Bitter Lemons runs through 14 September.

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