Sarah Ruhl's Stage Kiss, a meta-comedy exploring the blurred lines between stage romance and real-life relationships, has made its triumphant UK stage debut at Hampstead Theatre, 12 years after its New York premiere. Directed by Blanche McIntyre, the production offers a delightful and thought-provoking evening that oscillates between theatrical hilarity and raw emotional depth.
A Play Within a Play
The story begins in a classic audition room, where a flamboyant director, played by Rolf Saxon, encourages actors to follow their instincts. MyAnna Buring's character, She, arrives in a flustered state, fumbles her lines, and still lands the role in a forgotten 1930s melodrama titled The Last Kiss. The play within the play is packed with longing and terminal illness, but its true drama unfolds when She discovers that her co-star, He (Patrick Kennedy), is an old flame. Their reunion suggests that the spark between them never truly died.
Act One: Theatrical Absurdity
The first act is a comedic homage to the absurdity of the rehearsal room, reminiscent of Tom Stoppard's work. Robert Innes Hopkins's design gradually transforms the stage into a full, gilt-edged representation of the 1930s melodrama, complete with red velvet and theatrical excess. The dialogue is zigzagging and joyfully absurd, with the supporting cast delivering impeccable comedic timing. Oliver Dimsdale shines as the hapless husband, while James Phoon rotates cheerfully through multiple roles, including Kevin, Butler, Doctor, and Pimp. Jill Winternitz and Toto Bruin double nimbly, adding to the intentional over-acting that defines the play's meta nature.
Act Two: Gritty Realism
After the interval, the tone shifts dramatically. The set lurches from red velvet to the grubby reality of He's flat, and then to a director's nostalgia project set in 1970s New York. This segment features a Bronx sex worker and an Irish soldier in a relationship far less glamorous than anything preceding it. The romance deflates under blue city lights, and a uglier, more toxic history between She and He surfaces. This part of the play highlights nearly every reason why intimacy coordinators exist today, and Yarit Dor's work as the intimacy coordinator ensures that the uncomfortable scenes are handled with the right amount of discomfort.
Performances and Direction
MyAnna Buring's performance is a study in contrasts, leaping from frantic and unsure to hollow and sardonic. While the transition can feel disjointed, she is believable in both modes. Patrick Kennedy plays the deadbeat actor with cool conviction, capturing the character's charm and flaws. Blanche McIntyre's direction is a testament to her skill, as she navigates both the play and the plays within it, deliberately directing the latter with a deliciously bad quality that enhances the comedy.
A Juxtaposition of Styles
The tension between the hamminess of Act One and the grit of Act Two is a juxtaposition rarely staged so openly. While the play never fully commits to either style, Ruhl's comedy holds it together, leaving the audience with something approximately profound but above all, very entertaining. The dialogue is sharp and full of twists, ensuring that the 2-hour 10-minute runtime flies by.
Practical Information
Stage Kiss runs at Hampstead Theatre, Eton Avenue, London, NW3 3EU, from 15 May to 13 June 2026. Performances are at various times, with tickets priced between £35 and £65. The nearest tube station is Swiss Cottage. For more details and booking, visit the Hampstead Theatre website.
