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Stage Kiss e-Bulletin

February 7–APRIL 6
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When you first encounter Sarah Ruhl’s Stage Kiss, you might be slightly surprised to find what looks like a relatively straightforward and accessible backstage comedy.  In fact, I would dare say its robust humor, unabashed romanticism and tightly conceived structure give it the stature of a crowd-pleaser.  It starts with an audition. After a lengthy hiatus from acting for motherhood, a woman tries out for, and is cast in, the revival of an obscure ’30s comedy of manners.  On the first day of rehearsal, she learns her leading man is being played by her Capital E-X ex.  The next thing you know, she’s stage kissing and stage kissing and stage kissing this man.  What happens next?  Will life imitate art?  Or will art imitate life?  It’s funny as all get-out—but where is the Sarah Ruhl play? 

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Kissing on stage is both real and not real. Like urinating on stage, you sort of have to do it, there is a physical reality to the act, but the context renders the action fake. The actor’s body, one presumes, is flooded with all sorts of hormones while kissing on stage, but some attachment to reality keeps actors from falling in love with each other. (Except for when they do fall in love.)

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ABOUT THE PLAYWRIGHT, CAST, & DIRECTOR

Visit our show page to read more about Stage Kiss including bios of Sarah Ruhl, Rebecca Taichman, and the cast!

STAGE KISS


About two months into my first semester at a small liberal arts college, I arrived at Classic Texts 210 to find my professor – an egg-headed, brilliant man – sitting smugly in front of a question he posed on the chalkboard behind him:  “Did Oedipus kill his father and marry his mother?”  The word “did” was underlined twice.   After a weighty silence, in which the class had no idea what was happening, he leapt to his feet and spent ninety minutes rapidly drawing out the events in Sophocles’s play, magnificently revealing its plot-holes.  Like a geekier Jack McCoy on Law & Order, he proved how Creon couldn’t possibly have known that Laius was dead when he declared Oedipus the new king of Thebes; and he proved how Oedipus’s account of what went down at The Crossroads is discrepant from the Shepherd’s, meaning someone else must have killed dad; and he found a detail about Oedipus’s ankle woes (though I can’t remember what) that proves Jocasta isn’t his mother.   After class, I exited to the quad in a bit of a daze.   A month later I transferred to a Big 10 school, where I studied acting.

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BACKSTORY: MERELY PLAYERs

One can infer from the old adage that a customer would be unlikely to buy a package of sausage printed with full-color illustrations of the process by which it’s been made—from farm, to slaughterhouse, to factory floor.  And yet, people sure love Noises Off.  Michael Frayn’s 1982 farce about a bad play being badly played is, year-after-year, among the most-produced plays (by professionals and amateurs alike) in both the US and the UK.

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meet sarah ruhl

Thursday, February 13

Meet Stage Kiss playwright, Pulitzer Prize finalist, and MacArthur “Genius” Sarah Ruhl as she discusses her work with Adam Greenfield, Director of New Play Development.  A book signing will follow.

This free event, which starts at 6:30pm, will be hosted by The Drama Book Shop at 250 West 40th Street between 7th and 8th Avenues.  Reservations are required and may be made online, or by calling us at (212) 564-1235 x3154.

And be sure to check out our Stage Kiss window display, starting Monday, February 3!

RESERVE A SEAT NOW  


a new way to give

We are excited to launch the MONTHY SUSTAINER PROGRAM! Whether you give $10/month, $50/month, $100/month, or more, you will have the satisfaction of knowing that the new play and musical development programs and productions at Playwrights Horizons are made possible by your sustained support.

Join the Monthy Sustainer Program and see your monthly gift make a BIG impact at Playwrights Horizons.

Sign up now, or contact Michelle Kiefel, Associate Manager of Individual Giving, at (212) 564-1236 x3143 or mkiefel@phnyc.org.

THANK YOU.


post-performance discussions

During the run of Stage Kiss, post-performance discussions with Sarah Ruhl and Rebecca Taichman have been scheduled for the following dates:

Wednesday, February 19
Sunday, February 23 (following the matinee)
Friday, March 7

These discussions are an important aspect of our play development process. We hope you can take part!

BOOK YOUR SEATS 


helpful information

LOG IN & BOOK YOUR SEATS BOOKING INFO CALENDAR & INFO

MEMBER PRICES

MEMBERS: tickets to Stage Kiss are $35 for performances Feb. 7–Mar. 2; $40 for performances Mar. 4–23. YOUNG MEMBERS: 30&Under Member tickets are $20; Student Member tickets are $10.

GUEST TICKETS

SUBSCRIBERS: Order guest tickets for $50 each when you reserve your own.

FLEXPASS HOLDERS:  FlexPass holders may use tickets in your account to bring guests.  Add tickets to your account by calling Ticket Central (Noon-8pm daily) at (212) 279-4200.  Restrictions apply.

MEMBERS: Order one guest ticket per package per production for $50 when you reserve your own.

YOUNG MEMBERS:  You can buy one guest ticket per production. If your guest is 30 or under, the ticket is $30. If your guest is a full-time Student, the ticket is $20.  Proof of age and/or student ID will be required for each ticket picked up.

Age appropriate?

We recommend Stage Kiss for those aged 14+. 

DIRECTIONS/PARKING/NEIGHBORHOOD DISCOUNTS

Go to Plan Your Visit to find out more about directions, parking, and neighborhood discounts!