Stop Kiss
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https://www.adelaide.edu.au/theatreguild/
Date Reviewed: 04/12/2025
Stop Kiss, written by American playwright and television writer Diana Son, premiered Off-Broadway in 1998. The Adelaide University Theatre Guild’s latest production honours the text with sensitivity, emotional intelligence, and surprising polish.
Another thoroughly enjoyable evening at the Little Theatre. The space is always warm and welcoming, the seating comfortable, and it’s frankly a pity there were empty seats—this production deserves far better than a half-full house.
the tender, gradual unfolding of their relationship, and the devastating aftermath of Sara’s assault by a misogynistic stranger in the park, enraged by the women’s first tentative, public kiss.
The crew handled the numerous scene changes with finesse—smooth, unobtrusive, and cleverly staged. The use of the theatre’s first level to distinguish between locations was particularly effective, eliminating the need for major set changes. Lighting was well executed, and the soundtrack added atmosphere and emotional depth, though at times early on it was slightly overpowering and risked drowning out the actors.
Costumes were understated yet fitting, reflecting the characters authentically without requiring frequent changes. Special mention goes to props manager and graphic designer Jack Clark—the program design was striking and visually appealing.
This production marks Josh Manoa’s directing debut, and it is a great credit to her. The performance ran for roughly 90 minutes without an interval, yet it never lagged or felt padded. The cast’s chemistry was evident, and the audience was quickly invested in Callie and Sara’s journey.
Esther Burnett delivered a nuanced performance as Callie—a seasoned New Yorker, somewhat stuck in her job and relationships, yet sensitive and open to new beginnings. Ellie Lijo was equally compelling as Sara—new to the city, devoted to her third-grade class in the Bronx, and determined to embrace fresh challenges after leaving her family and boyfriend in St. Louis.
Detective Cole, the skeptical and brusque policeman, was convincingly portrayed by Ahsraf Abdul Halim. Having last seen him in Wuthering Heights, it was clear he has grown significantly as a performer.
Supporting roles were confidently handled: Jalen Berry (George), Zoe Russell-von Bujdoss (Mrs. Winsley and the Nurse), and Liam Warmeant (Peter) each brought depth to their smaller parts.
Overall, this was a remarkably mature production from a young cast and crew—one that demonstrates immense promise for their future careers.
Reviewed by Debra Secombe