Review: LIPSTICK at Austin Rainbow Theatre

From April 11-26, Austin Rainbow Theatre presents Lane Michael Stanley’s LIPSTICK at the Ground Floor Theatre. LIPSTICK combines farcical humor with heartfelt emotion, serving as a love letter to the queer community with its sharp dialogue, vibrant characters, and plenty of laugh-out-loud moments.

What begins as a nervous dinner invitation from Anna to Kelly—possibly a date or just a friendly meal—quickly unravels into chaotic comedy when Anna’s ex, Cara, her nosy Best Friend Mal, Hank the handyman, Mal’s mother, and a string of potential suitors (all played by one person) all show up unexpectedly. Filled with 90s sitcom nostalgia, wild scenes, and meaningful insights into love and self-discovery, LIPSTICK has the audience laughing and rooting for its flawed but relatable characters.

Offering a rare and authentic portrayal of queer relationships, LIPSTICK delves into the complexities of dating, self-acceptance, and community in a world that often misrepresents or neglects LGBTQIA2S+ experiences. By embracing the messiness of love and identity, LIPSTICK challenges societal norms and stereotypes, creating space for genuine, inclusive storytelling that celebrates queer joy, not just struggle, and proves that LGBTQIA2S+ narratives can be both hilarious and deeply moving.

Trace Turner, director, crafts the interplay between characters in this show with whimsy, a deep understanding of the material, and an authentic representation of the truths and biases the LGBTQIA2S+ community navigates. The cast Turner assembled for this production is top-notch, beginning with Claire Shelton as Anna—a somewhat nervous and vulnerable young woman who’s invited another woman from her yoga class over for dinner. As the show unfolds, Shelton takes the audience on an emotional journey, moving from confusion and uncertainty to determination and joy. Her performance reveals a rich, complex understanding of Anna’s emotional world.

Cheyenne Gibbs plays Kelly, the young woman invited for dinner. A bit quirky and questioning her own identities, she’s swept up in the whirlwind of Anna’s friends and the unpredictability of the moment. Throughout the play, Gibbs brings a fresh, openhearted perspective to the process of discovering one’s identity, gently exploring her character’s evolving understanding of attraction with honesty and care.

Dane Parker is fantastic as Mal, Anna’s Best Friend. With gleeful energy and sharp comic timing, Parker delivers wise, biting commentary on Anna’s life, wardrobe, and the chaos around her. Mal is protective, vibrant, and grounded, and Parker embodies this balance with charm and emotional clarity.

Bruce Gutierrez demonstrates impressive range as the Bandit Guys, switching effortlessly between characters and personas. Hilarious and animated, Gutierrez pulls off some of the fastest costume and character changes imaginable, bringing life, humor, chaos, and unexpected heart to the stage.

Frank Rivera, as Hank the Landlord, is the surprise of the night. Initially appearing as a conventional character, Hank is gradually revealed to hold identities that defy assumptions. Rivera’s portrayal reminds us that we cannot truly know someone through the lens of our own biases—and that self-knowledge and authenticity can be met with immediate, joyful acceptance.

Bonnie Lambert plays Cara, Anna’s ex-girlfriend, with a spark of jealousy, a shot of sass, and a full serving of boldness. Lambert is a delight—grounded yet delightfully absurd, and fully engaged in her character’s chaotic pursuit of happiness.

Gina Houston rounds out the cast as Dorthy, Mal’s mother, who’s come to New York for sightseeing and, in a twist, ends up romantically involved with Cara. Houston captures the overeager tourist-parent archetype with flair, reminding us that identity and attraction can shift in unexpected, transformative ways.

The stage, designed by Katie Birks-Kilman, is set in a black box theater directly on the floor, creating an immersive experience. It's vibrant and eclectic—filled with toys, playbills, and books spanning multiple generations, all speaking to the show's universal themes. The furniture, reminiscent of curbside discoveries, cleverly conceals an array of erotic toys, adding surprise and humor throughout. Several doors on stage heighten the sense of chaos in key scenes, while the single-level layout keeps the audience closely engaged with the action. The set is beautifully supported by Lucinda Culver’s whimsical lighting design and an inventive, playful soundscape by Johann Solo. Andrea Littlefield, the stage manager, deserves high praise for coordinating the show’s many moving parts—entrances, exits, props, and quick transitions—with seamless precision.

LIPSTICK is a delightful night of theater that centers LGBTQIA2S+ characters and experiences as the norm, offering a vibrant mix of joy, laughter, mayhem, plot twists, and sitcom-style energy. It’s a fast-paced, heartfelt production that celebrates queer identity with humor and authenticity. I highly recommend this show—with a few important cautions: it is not intended for children. The production contains adult language, sexual situations, real erotic paraphernalia, and other mature content.

LIPSTICK

Written by Lane Michael Stanley

Theater Company: Austin Rainbow Theatre

Venue: Ground Floor Theatre , 979 Springdale Rd #122, Austin, TX 78701

April 11-26, Thursdays-Saturdays 8:00 p.m., Sundays 2:00 p.m

Running Time: 1 hour and 15 minutes, no intermission

Tickets: $25