Stop Kiss is a powerful play about the human struggle to say aloud what we are truly feeling. Director Rah-nee Kelly and her cast filled this weekend's Pen, Paint and Pretzels performance with flawless acting, and characters that hit close to home.
The play opens with Callie (senior Rachel Evans) singing alone in her messy New York City apartment. She closes all her blinds and even puts tape over the peephole of her apartment door, giving the impression that she is hiding a part of herself that she doesn't want anyone to see.
Evans gives a flawless performance, and helps the audience understand exactly what it was that Callie was trying to hide - she does a wonderful job of communicating Callie's emotional journey.
However, It takes an entire cast to help Callie figure out how to say what she is truly feeling. We then meet Sara (senior Rachel Jablin). She sharply contrasts with Callie, wearing light colors and a bright smile. Sara's curly blond hair frames her face, giving her the perfect look of innocence. Jablin also does of good job of helping the audience understand her character's feelings. The audience watches her character grow and change, as much as her wardrobe does. Little by little, the audience watches as she switches from beige khakis to New York black. This adds to Sara's realism, making the character change seem more natural.
Sophomore Taylor Shann, who plays Detective Cole, also fits his role perfectly. Although he seemed to have been cut and pasted from a '80s action movie, he does a wonderful job of playing the tired and frustrated detective. Likewise, junior Megan Hammer (who doubles as the nurse) impressively portrays Mrs. Winsley. She plays up her inability to realize what is really going on, and is more interested in hearing herself talk than anything else.
Frustrated and left in the dark, the audience finally meets Sara's ex, Peter (Sam Rivers). Without ever being introduced, the audience immediately knows who he is. Tall, blonde, and wearing khakis, he embodies the typical small town suburban American male. His inability to understand the relationship between Callie and Sara builds tension in his only scene with Callie. Rivers portrays Peter as dry and discreet, a perfect depiction.
Kelly made insightful set and staging choices. For example, using Callie's dinning room as both the coffee shop and police station worked wonderfully. By focusing the light on a specific spot, the locales transformed.
Seniors Hana Yoo and Jennifer Bien constructed a convincing set. Everything from the wooden floors, to the pull out sofa bed, and even to the Tae-bo tapes atop the television created Callie's world.
It was not the sofa bed that lit up the audience, but rather when George (Kevin Miller) walked through Callie's apartment door. He entered with a burst of energy and boyish charm that gave the entire audience a smile. Filled with good humor, he was the only person who seemed to have the upper hand on Callie. Miller fit his role perfectly, playing for laughs whenever he had the chance.
Nearly flawless acting, fine, casting, directing, and design made this play a special treat. This production breathed life into the script. And if nothing else, the audience can at least walk away asking the fundamental question: Do we really say what we want?
