Directed by Alice Livingstone for New Theatre
New Theatre continues its strong 2026 season with Stage Kiss, a sharp, self-aware comedy by Sarah Ruhl that leans into the messy, complicated and often absurd nature of love, performance and everything in between. Stage Kiss premiered in 2011 at the Goodman Theatre, Chicago, before making its off-Broadway debut at Playwrights Horizons in 2014. True to Ruhl’s form, this is a play that understands its audience from the outset—inviting them in with humour before quietly (and sometimes not so quietly) unravelling something much deeper.
At its core, Stage Kiss is about two actors—simply named He and She—who are reunited after years apart to play opposite each other in a decidedly melodramatic 1930s-style romance. As their onstage relationship begins to blur with their offstage past, what starts as a satire of theatrical tropes quickly evolves into something far more layered. The lead characters’ rekindled chemistry sparks a funny, tender, and sometimes delightfully unhinged exploration of desire, loyalty, and the complexity of relationships. Ruhl’s script cleverly plays with form, shifting between parody, realism and heightened absurdity, all while asking its audience to consider where performance ends, and truth begins.
From the outset, the production leans heavily into the heightened theatricality of the piece. The “play within a play” structure is handled with clarity and confidence, with the opening scenes deliberately dialled up to evoke an almost caricature-like version of old Hollywood romance. This is where the comedy lands thick and fast—knowing, self-referential and just a little bit ridiculous. But, much like in Ruhl’s writing, the tonal shift is where this production really finds its footing.
As the layers begin to peel back, so too does the emotional core of the work. What initially feels like a light satire becomes something far more reflective—examining love not as a grand, sweeping gesture, but as something fractured, inconvenient and often unresolved. The direction handles these transitions well, allowing the humour to give way to something more grounded without losing momentum.
The central performances carry the weight of this shift. Emma Delle-Vedore (“She” / Ada Wilocx) and Jason Spindlow (“He” / Johnny Lowell) have a natural chemistry that makes both the awkwardness and intimacy of their relationship feel authentic. Their comedic timing is sharp, especially in the earlier scenes, but it’s in the quieter moments—where the script allows space to breathe—that they really shine. There is a lived-in quality to their interactions that makes the emotional stakes land effectively.
Supporting performances round out the world with energy and precision, particularly in the more absurdist second act, where the play takes a deliberate turn into the surreal. It’s here that the production fully embraces the chaos of Ruhl’s writing—leaning into the bizarre without losing clarity. Frank Shanahan’s multiple roles (Kevin / reader/understudy/doctor/butler and pimp) are all engaging and charismatic (as well as delightfully clueless) while Nicholas Papademetriou’s Director is earnest and compelling.
Rounding out the cast are Nicola Denton as the petulant daughter Angela, who brings some realism back to the second act, and Victoria Fowler as Millicent. Laurie is a dependable and polished comic foil to the chaotic lead characters.
What makes Stage Kiss particularly compelling is its refusal to offer a tidy and neat ending. Much like the relationships it depicts, the play resists tidy conclusions, instead opting for something more ambiguous and, ultimately, more honest. It’s a reminder that not all stories—onstage or off—are meant to be wrapped up with a bow.
This production is funny, thoughtful and just the right amount of chaotic and unhinged. It understands the rhythm of Ruhl’s writing and trusts its audience to keep up with its shifts in tone and style. In doing so, it delivers a work that is as entertaining as it is quietly affecting.
Stage Kiss by Sarah Ruhl plays at New Theatre, Newtown, through 11 April 2026
In his past lives, Damien was a drag queen and musical theatre actor. He made his stage debut as a fat cow in a school production of Joseph in 1984. He holds a BA with a major in drama from the University of Newcastle. He is completely obsessed with musical theatre – especially Broadway divas.
Since relocating to Sydney at the beginning of 2024, he attends every musical he can get to and lives with his partner and grumpy 12-year-old poodle.
His claim to fame is that he once met Patti Lupone in New York and she was nice to him.