‘Oranges and Lemons’ review
Oranges and Lemons, written and Co-Directed by Miranda Pharoah alongside Co-Director Beau Singleton, is a true masterclass in clever writing, witty acting, and above all, the beauty of simplicity. Bathed in a warm yellow glow, as I entered the Assembly Rooms Theatre for what was their opening performance at Durham Fringe, I was met with a detailed, thought-inspiring set. Taking my seat, I began to wonder what was in store, what was this room, and how did it connect to the story? Over the next fifty minutes, I was mesmerized by the depiction of something truly trivial, in such a meaningful and impactful way.
Oranges and Lemons is set in an old headteachers office, an inspired choice of setting, credit to Pharoah’s writing, which left you wondering about past relationships, and the truth of history. One by one, old classmates enter this room for a reunion of sorts, reminiscing over past shared experiences at school, and revealing intimate truths about one another. Over time, the topic turns to ghosts, and hauntings. Intertwining friendships and buried trauma overlap in this engaging drama, prompting us to question ourselves: are we haunted by the ghosts of our past?
As a piece of student writing, it was incredibly inspired. Pharoah is very obviously extremely talented. Her ability to form friendships, and relationships, in such a way to leave us wondering what this group of characters really were doing together, was fundamental in securing the success of this play. Cleverly written, each character expressed individuality and familiarity. I naturally felt an aversion to certain characters, while others fostered a sense of caring. Pharoah intelligently employed school stereotypes in her characters – I believe that everyone in the audience recognized either a part of themselves in a character, or someone whom they knew very well during their school days, and this allowed us to engage with and understand the characters. The balance between characters was beautifully maintained.
However, paramount to the success of Oranges and Lemons was the inspired triviality of the setting and story. Not once did we leave the room, and this provided the audience a window, an insight, into the thoughts and feelings of every character. Too often scene changes and pacing are met with clunky furniture moving, or poorly selected transition music, but Pharoah cleverly avoided this shortfall. I think perhaps some of the more meaningful moments were lost in the roundabout nature of the script – I would possibly have preferred a clearer direction. That being said, it was still a brilliantly put together production.
Pharoah’s beautifully engaging writing would have absolutely fallen short if it weren’t for the powerhouse cast. As an ensemble, they were cohesive, engaging and relatable. There was never a moment that wasn’t carefully thought out – an absolute credit to the actors, and the direction of Miranda Pharoah and Beau Singleton. Isaac Slater opened the play with a nuanced silence, leaving the audience in suspense and anticipation. Throughout the play, he embodied the character of Hec brilliantly. A slightly full of himself, confident character, I was especially impressed with Slater’s character development. His intimate conversation with Hamish (played by Laurence Davidson) at the end highlighted a new and vulnerable side to his character, which was wonderful to observe on stage.
Laurence Davidson, playing Hamish, a reserved man of faith, brilliantly juxtaposed Hec’s character on stage. Contemplative and thoughtful, Davidson allowed emotion to pour through his experiences on stage, in such a way that allowed the audience to follow his thought process, step by step. Davidson’s ability to enthral the audience through monologue was incredible, and his performance was a real highlight for me.
Maisie James, playing Charlotte, provided some subtle, but welcome comic relief in the play, with the recurring gag of her time in Chicago. Despite this humorous side, Maisie James developed an open character, and one that we grew to partially dislike. I was led to believe that she hadn’t grown up much since school, and this was a wonderful interpretation from Maisie James. I left feeling unsure as to whether we should align, or oppose, with her views and feelings.
Nervous, flitting and angsty, Maisie Donohue depicted an inspired Nellie. Contrasting from most of the group, Donohue exhibited an innocent, hurt character – one that was still trying to heal. Too often, young people have a difficult time during secondary school and Donohue cleverly illustrated the impact this can have on a person. This was the most meaningful and thought-provoking performance of the night.
Finally, River Blatch rounded off the cast with an adept portrayal of Garbriel, a character who seemingly had their life together, but unravelled in the poignant silences and emotive recollections of the dialogue. Blatch had an unrivalled ability to capture the audiences’ eye, and during monologues, varied tone, pitch and pace allowed the audience a clear insight into the characters internal conflict.
The cast worked together impeccably, bouncing off one another, forming clear, yet twisted relationships – a feat given they were on stage for less than an hour. You could very clearly observe the creative direction running through these relationships, and fleeting moments, providing the lifeblood of the acting and performance. Leaving the theatre, I was prompted to reflect on my own past, and how ghosts of past and present can haunt one’s existence.
Oranges and Lemons was above all, clever, witty, and exquisitely written, with a stellar cast and crew. If you are in Durham this evening, I thoroughly recommend taking a trip to the Assembly Rooms at 8.20pm, for an engaging and thought-provoking performance.
Oranges and Lemons is showing at the Assembly Rooms Theatre as part of Durham Fringe Festival on August 2nd at 8:20pm.
By Jamie Duncan.