Review: Stage Kiss, Hamstead Theatre

Hampstead Theatre warmly hosts Stage Kiss to its modern accessible space, with unusually comfortable seating. The stage is set for a read-through, with multiple chairs and stark lighting. Interestingly, or perhaps accidentally, house lights are up for the first 20 minutes or so, creating a sense of uncertainty and rawness in the theatre. It’s a clever ploy to engage the audience early and to hold us in their thrall. 

Written by Sarah Ruhl and directed by Blanche Mcintyre, Stage Kiss is a layered production which wittily exposes the vagaries of making theatre. The satire of context is ably delivered, with a wonderful air of wit and charm, reminiscent of Oscar Wilde meets Tom Stoppard. The deft layers of portraying reality, performance within performance, and human dynamics are endearing and nuanced. There is a challenging balance of pace and stillness, of blunt reality, banter, and tenderness, with the punctuation of song and even a little tap-dancing! 

‘She’ (MyAnna Buring) is returning to stage after a hiatus, bringing her longing and uncertainty to this new production. Buring immediately engages the audience with her earnest portrayal, through her presence, vulnerability, and lovable characterisation. ‘He’ (Patrick Kennedy) represents a charming, unsettling reappearance in the life of ‘She’. Their interactions traverse memories of youthful romance to the starkness of performance and reality. Later, Kennedy’s character navigates deftly with a ‘boot’, whilst still able to clinch ‘She’ in his arms and crutches. 

The character of the Director (Rolf Saxon) is a bewildering, yet apt, mix of eagerness, insouciance, and indecision. Josie Thomas’s costuming has a breadth of hooker streetwear to 1920s elegance. The entire cast is adept at quick changes and characterisation that have me wondering, at times, which actor is playing which role – admirable. James Phoon clearly has his own off-stage revolving door, performing quick changes, role, and code-switching, all with an air of charm and mischief. There are many moments of laughter in the production.

However, it is the staging that surpasses the competence of the actors. Designed by Robert Innes Hopkins, with lighting design by Oliver Fenwick, they achieve evolution from bare rehearsal room to layered perspective scenery with speed and efficiency. Their clever combination of construction and lighting takes us from grunge to opulence, and reality paradigms from elegant staging to chaotic studio apartment. Rarely are such frequent scene changes delivered without sound impact or interruption. With the nature of the production moving from rehearsal, stage, to homes, the stage management team of Grace Pattinson, Fiona Bardsley, and Izzy Cox are unusually visible cast members, a joy to behold. Within the layered dialogues of laughter, performance, and relationship dynamics, are themes of toxicity, power versus control, and boundaries between playful and meaning-laden interactions. The loyalties and boundaries of theatre relationships both staged and real are explored with caustic humour and tender caresses. Stage Kiss is to be savoured, lingeringly, and with rapt attention.

Written by Sarah Ruhl
Directed by Blanche Mcintyre
Designed by Robert Innes Hopkins
Lighting Design by Oliver Fenwick
Sound Design by Gregory Clarke
Composed by Grant Olding
Movement, Intimacy & Fight Direction by Yarit Dor

Stage Kiss continues its run at Hampstead Theatre until Saturday 13 June.