Stop Kiss

was such a lovely show, I was really excited by the two simultaneous “before and after” storylines they had going and the projections were MESMERIZING. Seeing this adaptation as a director was so refreshing, Sarah Jackson and Megan Strong’s direction was really something beautiful. Recommend this again and again.

A wonderful show, all in all.

The performances were amazing, even the smaller roles. Touching, well-written, and boasting wonderful design elements (particular shout out to the set). At times the transitions were a bit excessive, and personally I don't think the MC needed a costume change in between each scene, but the projections and atmospheric noise to accompany the transitions were impressive.

Though a 90 minute show, it didn't drag on and I was engaged. Easily I think this show could do with a full two act production. There's more to explore in the story, and I can see an integration of more unconventional theatrical elements to help elevate the story and deepen the emotional impact.

Incredible storytelling! And a nice change of pace from my usual comedic fare.

I'm not usually a fan of stories that jump back and forth in time (usually because of pacing issues), but my worries quickly went out the window here, the transitions made it very clear where in the story we were.

I'm so glad this was in a larger theatre, because the set was incredible, and more people need to come see this!

"Stop Kiss", written by Diana Son, is a play from the late 90's which explores the events leading up to, and following, a violent hate crime which leaves one of the victims in a coma. It is an incredibly well-written play, which alternates between being sweet and being heartbreaking. The characters, and their relationships, are well developed and the dialogue flows with a natural pace.

Now, the production at Fringe is produced by Hollyhock Theatre Co, an indie theatre company here in Edmonton. The play is over at the Campus Saint-Jean Auditorium in the French Quarter, where the play takes full advantage of the larger space with a detailed, lived in set.

If you see the licensing details for this play, you'll see it's purported to run a total of 105 minutes. Hollyhock's Stop Kiss, on the Fringe website, runs a tight 90. At the performance I attended, it only went a minute or two over. As glad I am that this wonderful script is being shared, and by a company with a noticeable care for the meaning of the script, this tight runtime was noticeable in the performances and directing. Moments were occasionally rushed, and some of the heart of the show was missed as important moments weren't quite given the space they needed to breathe. While the cast was very likeable, and committed to their beats, the show could have benefitted from a slower pace.

While Fringe decrees 90mins as the maximum time, and the show is already running to that limit, there were moments that could have been cut down to allow more time for emotional scenes. The show did have a tendency to cut the momentum and tension with frequent, extended transitions, and allowing that time for the dialogue would have taken this production to the next level. Specifically, the show featured projection transitions and frequent costume changes. While both design elements were curated perfectly, and fit the mood of the show well, if they were cut down significantly it could have allowed more time for the scenes while keeping within the 90min limit.

The show has an important, still timely message which was delivered with care and precision by the cast and crew. It was a very detailed, especially technically, production for Fringe of a complex show. Shows like these make me wish Fringe had a little more space for longer shows, as if this show was allowed to run the normal runtime of 105 minutes, it would have been elevated substantially. As it is, it was still a strong production of a beautiful show.

Andrea Noga, Alberta Youth Theatre Collective.

This show was really good. A few longer transitions, but the characters were well thought out and acted. I really liked how they used the space in the stage for different scenes.

The sleek production and impassioned performances of this rendition heighten the mature, uncanny, and playful aspects of the 1998 Diana Son play. Both lead's sharp and emotionally flowering delivery enliven and modernize the narrative, while the cozy set design, impeccable wardrobe, and haunting industrial audio/visual interludes keep the audience grounded in the setting. Stop kiss enraptures as much as it delights. I highly recommend this production, and this team.

To be totally honest, I was going in worried that this might be bad because the title was kind of basic. I am always down to see queer dramatic works though, especially in a landscape of what feels like 10:1 drama to improv at this festival.

I’m glad I went, because I enjoyed the script! The dialogue was natural and clever. I always love a play that jumps back and forth through time. The order of scenes weaved well together, and it ended on the perfect note. The characters were beautifully developed and felt like real people.

That being said, this felt a bit long. It is 90 minutes, which is appropriate for the density of the play, but the transitions were pretty drawn out. This is probably because there was a costume change every scene. I would’ve preferred fewer costume changes so that the runtime could’ve been used for the performances, as sometimes lines felt rushed without room to breathe. Shoutout to the costume designer though, because they were gorgeous.

Overall, this was a good showing! I’m glad to see young actors challenging longer dramatic works. As much as short comedy gets propped up at the Fringe, it’s more serious, well-rehearsed shows like these that keep me coming back.

This play was an educational and moving experience. It does an excellent job of showing the reality of hate and the devastating impact it can have. BUT at the same time reminding the audience that love conquers all. The message was powerful. I especially appreciated how the play brought back personal memories of what a new relationship feels like - the excitement, exhilaration and happiness. Overall, Stop Kiss was funny, thought provoking, endearing and a wonderful reminder of the power of love, connection and hope. I recommend it!!

My teenage daughter and I saw this one together and afterwards she said that she forgot how much she loves theatre! Pretty sure that translated it hit the mark for her and for me, it stirred up a lot of emotions- laughter, love, happiness, sadness! In a world where inclusion is constantly being challenged, this performance had an amazing message and having been to NYC three times I had a strong appreciation for the context of the love is love in a metropolis city! Bravo to the writers, director, designers, and of course all the performers. Absolutely loved it and I found the quick hits of some very brief scenes some of the most powerful, which was intriguing and unique to me. Thank you!!!

an engaging “bury-your-gays” play except instead of a lesbian dying she’s just in a coma. started off a little rough but fell into itself quickly and gave the audience a really beautiful, heartbreaking story of love and rising above those who despise it.

Loving is Overcoming

The complexities and tragedy of modern day queer relationships is presented beautifully in Stop Kiss, heartbreaking, complicated, and breathtaking.

This performance utilized the stage space perfectly, seamlessly transformed from different locations and periods of time. Transitions utilized mixed media elements through the lighting and sound, which was stunningly curated and layered. The writing was witty and clever, the actors chemistry was believable and genuine, and it the costuming was nostalgic and added the perfect amount of colour and life to the tragedy as it unfolded.

This performance was one that will stick with its audience for days, the cast and technical teams should be in incredibly proud of Stop Kiss, and clearly all the hard work that made so many elements intersect perfectly.

Beautiful show! Beautiful set! Beautiful cast!

I felt transported back to the 2000s in this show. Strong attention to detail and an immersive technique for scene transitions. While this story is certainly about queer trauma, it's mostly centered in queer love and joy.