Review: ‘Blue Kiss’ at Ruskin Group Theatre
- Dondre Tuck
- 13 hours ago
- 3 min read
Stephen Fife’s play “Blue Kiss,” directed by Mike Reilly and having its world premiere at the Ruskin Group Theatre’s new Audre Stage, is an intimate, dialogue-driven drama that leans heavily on tension, perception and psychological unraveling.
The play follows Susan (Carolina Rodriguez), a high school student who meets Todd (Casey Morris), an English teacher who agrees to help her prepare for the SAT. What starts as a straightforward tutoring session slowly begins to shift. Subtle inconsistencies surface, and Todd realizes Susan is not who she claims to be. As the conversation deepens, it becomes clear that their connection runs further than he initially understood.
Morris and Rodriguez carry the entire production, which is no small feat. Both actors are engaging and clearly committed, though their chemistry feels inconsistent. There are moments where the tension clicks and the stakes feel real, but they are not always fully in sync, especially in the more heightened parts of the story.
That said, given that the show is still early in its run, there is room for growth. With time, there is potential for these performances to settle into a stronger rhythm. Even with that unevenness, the performances are solid enough to keep the audience invested.
Reilly’s direction is focused and efficient. Pacing keeps the story moving without losing clarity, which is critical for a piece that relies so heavily on dialogue. The staging is purposeful, with every movement feeling motivated. The Audre Stage’s intimate space works in the production’s favor, pulling the audience directly into the setting and making the unfolding tension feel immediate and personal.
Set design by Ryan Wilson supports that intimacy well. The space is designed as a modest, lived-in study, complete with a desk, books, armchairs and a warm, practical lamp that grounds the environment. The layout naturally creates a conversational arena, reinforcing the play’s central dynamic.
Edward Salas’ lighting design complements this with a mix of warm and cool tones, balancing a sense of comfort with underlying unease. His sound design is minimal but effective, using everyday cues like a boiling kettle or phone interruptions to heighten realism without distraction.
At its core, “Blue Kiss” is driven by themes of truth and perception. The play challenges the idea of truth as something fixed, instead presenting it as something shaped and filtered through individual perspective. As the story unfolds, it becomes clear how easily perception can be mistaken for truth. The play highlights how often people rely on incomplete or biased understanding without questioning what is actually real.
The audience remained engaged throughout a recent performance, clearly dialed into the story’s slow unraveling. “Blue Kiss” is a thought-provoking piece that holds your attention and leaves you reflecting on its central ideas. While the performances have room to grow as the run continues, the production as a whole is solid and worth seeing, especially for those drawn to intimate, character-driven theatre.
“Blue Kiss” continues through May 17 at the Ruskin Group Theatre’s Audre Stage, 2800 Airport Ave., Santa Monica, with shows Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. For tickets and information, call the box office at 310-397-3244 or visit RuskinGroupTheatre.com. Run time is 80 minutes with no intermission.
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