The Bleecker Street beating is never revealed onstage — all we see came either before or after. And even though the play's ultimate scene is very much in the "before" category — leaving audiences to wonder what will happen to this new couple in the long run — Stop Kiss concludes on what feels like a moment of profound uplift. This is important, I think, especially in a play as intimate as Stop Kiss and produced with such careful attention to the textures of everyday moments and conversations. Even if we know, as the characters cannot, what terrible thing is coming, we can give ourselves over to that lovely moment. I think Stop Kiss is about living in those moments. Onstage at the old Sol, it demonstrates how richly they may be mined.