One Kiss – Belgrade Theatre, Coventry

Writer: Lara J. West

Director: Sarah Stacey

One Kiss has been gestating for quite some time, having been significantly delayed by the Covid pandemic. But every cloud has a silver lining: the company took the opportunity that the extra time provided to tighten the narrative and focus on fewer characters in this one-woman show. While it’s fair to say that there is maybe more work to be done, the current production hangs together well, weaving the connected stories of three women and highlighting issues they face.

Billed as a play with music, One Kiss includes original songs that complement the storyline – songs that showcase the depth and timbre of performer Lara J. West’s voice. Her voice would be perfectly suited to a smoky subterranean jazz club as the rich mellow notes float out over the audience. She’s supported in this by two musicians: Piera Onacko and Alicia Gardener-Trejo. They also provide a fine soundscape underscoring many of the moments in the show.

One Kiss follows three women on their life journeys. Central is Georgia, who we first meet as an enthusiastic and talkative youngster. Her best friend is Shirley: in fact, Shirley makes it obvious that she wants more than friendship and they become romantically connected. Until Shirley sends Georgia an old library book, What It Means to be a Woman, before leaving with her mother and her new boyfriend to a new life in America. Georgia’s mother, Maud, is uncomfortable with same-sex relationships and returns the book to the library before Georgia can read it or see the letter that Shirley secreted within it. The book is used to link the three storylines, but this device is only partly successful as it’s not clear what the book actually is – it seems to be simultaneously some sort of diary and friendship book with inspirational quotes to which the owners can add.

We watch as Georgia meets the expectations set of her and marries and settles down. We see her cope with a largely uninterested husband, childbirth, stillbirth and ultimately the menopause, largely alone. We also glimpse Shirley’s new life as a cabaret performer in New York, with both wondering what might have been had the other stayed in touch. And, as so often in real life, there’s no neat resolution, no tying off of loose ends – the closest we get to that is when an introspective Maud decides finally to share with Georgia the letters sent by Shirley.

West plays all three characters effectively, with clear delineations so that we always know just who is speaking. There are some tough issues dealt with and the script could maybe look at those in a touch more depth, although the use of what appear to be verbatim recorded accounts from women who have themselves experienced those issues is a powerful tool. But the highlight of the evening is undoubtedly the songs. While they don’t necessarily drive the story, they certainly complement it and West’s voice is terrific. One, about childhood, successfully evokes growing up in the 1960s

One Kiss is a bittersweet journey as three women develop, warts and all. While touching and funny, it’s not quite there in terms of balance. Nevertheless, it provides a thought-provoking, and sometimes uncomfortable, evening of entertainment.

Runs Until 9 July 2022