An old adage comes to mind: “The more things change, the more they stay the same.” A compelling example of the veracity of this adage is no more evident than in Playcrafters’ current production in its Barn Owl Series of Stop Kiss by Diana Son, the story of the blossoming of two young women’s, Callie and Sara, discovery of their fully human authenticity and the subsequent brutal and homophobic attack that places Sara into a coma. Stop Kiss aptly coincides with National Pride Month. This script was first produced off Broadway in 1998 and sadly, despite some advances in attitudes, it is as relevant today as it was then.
Son’s writing is brilliant. This is the third script I’ve seen recently where a series of very brief vignettes are used to advance the story rather than a continuous plot line and it’s amazing how skillfully a story can be told using this format. Son’s script toggles scenes of endearing encounters between Callie and Sara as their relationship grows with the devastating scenes of the aftermath at the culmination of their attraction – their first kiss – which balances the roller coaster of emotions the characters – and the audience – experience.
Erika Seabloom here makes their first post St. Ambrose directorial debut and despite their relative youth demonstrates theatrical leadership well beyond their years, a testament to their passion. As a bonus, they have also added a post production “talk back” inviting the audience to join a diverse LGBTQ+ panel to discuss and help process what they’ve just seen. I encourage you to take advantage of this addition.
Full disclosure: sitting just on the other side of my microphone is the actor who portrays Callie. Yes, it is the producer of my reviews and my Footlights podcast partner, Jaren Michelle. Awkward? Not at all. With utmost honesty and sincerity I can give them two thumbs-up, in fact I wish I had two more hands so that I could give them four thumbs-up. Jaren imbues Callie with self doubt and naiveté that grows toward new found confidence. The other half of this duo is McKenna Coskie as the Midwest transplant to the Big Apple, Sara, who seems to come around to the realization of her sexuality a bit more slowly, but no less honestly sincere. And I really have to share my thumbs-up for her performance.
Rounding out this talented cast as both women’s prior love interests are Drew DeKeyrel as George and Rishem Bhogal as Peter, Cynthia Taylor as Mrs. Winsley and a nurse, and the prolific always superb Mattie Gelaude as the detective who investigates the attack. Their supporting and pivotal roles are flawless.
This show did have one flaw however – the costuming. Some of the choices for Callie were incongruent to her character and downright unflattering. Proper costuming helps the actor to develop their character and can assist to enhance the story.
I strongly recommend attending this show because as Seabloom states in her program notes: “No matter how uncomfortable [this material] may be, it is important for us as a society to accept that not much has changed in the 25 years since this script was first performed…This is not a story of the past, but rather a story that could take place, DOES take place, right here, right NOW.”
Stop Kiss continues at Playcrafters Barn Theatre, 4950 – 35 th Avenue in Moline , Friday and Saturday, June 16 and 17 at 7:30 p.m. and Sunday, June 18 at 3:00 p.m.