Stop Kiss

TGSS’s production of Diana Son’s Stop Kiss can be summed up as being nothing short of a triumph. Diana Son’s tender emotionally charged script finds a fresh and confident voice under the direction of Josh Manoa, whose directorial debut signals an exciting new talent in the Adelaide theatre scene. Manoa’s vision is compassionate, and deeply attuned to the play’s beating heart, guiding the production with emotional input that reaches beyond the stage.

This production is also a display of remarkable cohesiveness amongst both cast and crew. Composer and sound technician Jarrod Matulick deserves special praise for his extraordinary sound design that was a sophisticated yet unobtrusive addition, elevating key moments (including scene changes) without becoming overwhelming. The timing of this, particularly in scenes where movement and sound must land in perfect harmony, was impeccable. Matulick’s creativity assisted in immersing the audience in the world of Callie and Sara.

Bethany Rosenboom’s considered lighting design of warmth and shadow skilfully shifts between tenderness, humour, and heartbreak. Coupled with James Davey’s clever set design, which uses the Little Theatre’s floor and mezzanine levels to maximum advantage, the production moves fluidly through its many short vignettes which are handled with finesse. Huge credit goes to the backstage crew, who worked extremely hard to execute the scene changes with a speed and precision that was obviously as well rehearsed as the on-stage action; all under the competent direction of stage manager Lily Watkins.

At the core of Stop Kiss is its cast, and this ensemble delivered a performance that is both heartfelt and compelling. As Callie, Ester Burnett is captivating; her portrayal is rich in emotion, capturing both the character’s vulnerability and unexpected courage in the face of adversity. Elizabeth Lijo, as Sara, brings an infectious warmth to the role, creating a beautiful combination with Burnett’s portrayal of Callie. Together, the two build a relationship that feels real, especially within the play’s most tender and devastating moments. These players were supported wonderfully by a superb ensemble of Jelan Berry who brings humour and sincerity to George; Zoe Russel-von Bujdoss adding a distinctive quality; Liam Warmeant giving Peter a grounded realism; and a strong and engaging portrayal of Detective Cole by Ashraf Aduk Haim. Each performer contributing cohesively to the emotional rhythm of the production.

This TGSS’s 2025 staging of Stop Kiss is a moving, beautifully crafted work brought to life by a passionate and talented team. It is a highly recommended production that lingers long after the final blackout.

Peta Bojanic