On Friday, November 13, staff writer Amélie Acevedo attended an original play titled Baby’s First Crazy Kiss Story, presented by NOMADS. 

Baby’s First Crazy Kiss Story, in the words of the playwright Brooks Gillespie (BC ‘25) via her author’s note at the beginning of the program, is “about love, but it’s not a love story. It’s a show about being queer, but it’s not a coming-out story. Rather, this show is a celebration— of friendship and maturing and queerness and anxiety and love and music and being a total nerd.”

BfCkS is a three-person show made up of Ellie, played by Mason Deas (CC ‘28), MK/Dorothy, played by Viviana Simon (BC ‘28), and Alison/Daisy, played by Gabriella Kinzett (CC ‘26). It tells the story of Ellie, a fifteen-year-old girl who struggles with the label of the “golden child.” She is placed in a rooming group with two rebellious girls, for their short choir tour. The second act of the performance follows Ellie, now eighteen, as she adjusts to life in college, once again with two roommates. 

The production began with the director, Melañia Horowitz (CC ‘26), welcoming everyone in and introducing them to the Glicker-Milstein theater space. She concluded by telling the audience that there would be a short video during intermission and that anyone sitting on the back wall may want to move. Although she didn’t explain what the video would entail, I was eager to find out.

This was my first time seeing a production held in the Glicker-Milstein Theater, and I loved the intimate feeling that was provided by the round stage. I had a clear view of the set, which contained three twin-sized beds with white sheets, and a gray rug in the center. It was simple, yet a perfect representation of an empty rooming situation. The house lights went down, and we watched as the cast came out. 

The story begins with Alison and MK letting the audience know that they had just been busted for drinking alcohol on tour, but that they were miraculously still able to room together. Before they can finish talking, Ellie, the golden child of the choir, walks in. The two realize that Natalie, their director, has placed her there to watch over them. Over the course of the first act, Ellie, Alison, and MK grow close and open up to each other. One night, Ellie experiences her first panic attack, so MK does breathing exercises with her until she calms down. This moment signifies how close the two have become. On the last night of the tour, MK suggests that Ellie practice kissing with her since Ellie’s never had her first kiss. She agrees and the two lean in to kiss, but Ellie backs away. MK, clearly upset with Ellie, tells her to just pack her stuff and leave her alone for the rest of the tour, and the house lights go down, signifying the end of Act One. 

As the act ended, a projector illuminated the back wall of the theater, and the aforementioned video began to play. It introduced queer people of all ages, both single and happily coupled. They shared what being queer meant to them in their lives, as well as what their relationship with their partner meant. There were relationships spanning years, as well as newer relationships featured. The video demonstrated how queer love has no age, as the love the couples had for each other radiated from the screen. The audience all seemed equally moved by the video and impressed by how thoughtfully and artistically it was made, with splits at just the right moments. 

The house lights came back on, and the set had been completely transformed. The gray rug had been replaced with a fluffy pink one (I think we all had one our freshman year), and the three beds had new bedding to reflect the personalities of the three girls living in the room. There were now nightstands with mugs, plants, and books placed on top, and a communal desk containing a mirror and bottles of lemonade and alcohol. The room was reminiscent of my own freshman dorm, especially with the film and music posters lining the wall. I especially loved the touch of each girl having their own pride flag, and Ellie having a Noah Kahan record placed next to her bed. Set designer Oscar Manuel Landa Samano (CC ‘26) did an amazing job capturing each girl’s individuality in their decor while still making a coherent living space. 

The three actors came back out, but this time, the audience was following Ellie and her two roommates in college, Daisy and Dorothy. Ellie’s style had developed from overalls to jeans, and she sported eyeliner and silver rings. While the outfit choices were by no means elaborate, they were extremely accurate to teenagers discovering themselves in college. Daisy’s outfit echoed a predominantly 70s aesthetic, with a flowy printed shirt, a denim skirt, and a floral belt, while Dorothy took on a grunge look, with a plaid shirt overlaying a simple T-shirt, and dark wash jeans. Outwardly, Ellie looked like a typical college girl, but internally, she still felt like she didn’t belong. The second act begins with the three girls discussing their dating lives and Ellie recounting the story of her almost-first kiss with MK three years ago. This prompts Daisy and Dorothy to help her set up a dating profile. When Ellie receives a match, she asks Daisy to practice kissing with her, as she wants to seem experienced. The date goes horribly, which prompts Daisy and Ellie to come to terms with their feelings for each other.

I loved every second of this production. Playwright Brooks Gillespie perfectly captured the awkwardness of late teen years, the adjustment to college life with roommates, and the process of coming into your sexuality (which doesn’t happen for everyone at the same time!). The opening music was perfectly curated and featured sapphic tunes like “Cool About It” by boygenius and “Hate Myself” by dodie. The director, Melañia Horowitz (CC ‘26), assistant director Erika Avallone (BC ‘26), co-producers Shea Rathburn (CC ‘26) and Alina Pucci (BC ‘27), assistant producer Abby Jack (BC ‘25), stage manager Elizabeth Keller (CC’27), and assistant stage manager Jada Mirabelle (BC ‘28) were constantly moving around the space during intermission, making sure the set was exactly as it had been envisioned. All three actors were insanely talented as well, and completely relaxed in their roles. They were able to lay on each other’s beds, walk around in pajamas, and crack jokes at each other that didn’t feel forced or scripted. At the same time, the tension between the characters was palpable and it felt like I was watching people with genuine crushes on each other. They worked perfectly together while still maintaining the different personalities of their respective characters. 

The production consisted of three shows in total, beginning on Friday night, and concluding on Saturday night. I’m so glad that I was able to witness this show, and I hope that I will get to see something else written by Gillespie, either here at the college, or off-campus as her career as a playwright takes off. The entire play was effortlessly funny, and the dialogue could have been word-for-word conversations found in any dorm room in Barnard. While I never went away during summer for sleep-away camp, I found her writing to be a very clear representation of the adjustment process to college. Ellie feels the way that many of us do, as if we are odd or abnormal and that we are alone in these feelings. As Daisy said, everyone feels that way, they just don’t show it. It was eye-opening for me to see that other people my age deal with the same issues as me, and I thank Brooks for conveying this so artistically and yet so humanly.

Image via Writer’s Camera Roll