Kiss of the Spider Woman | Leicester Curve

Kiss of the Spider Woman returns to the stage in this new production directed by Paul Foster. Originally based on the novel of the same name by Manuel Puig, with the additional book written by Terrence McNally, music by John Kander and lyrics by Fred Ebb, Kiss of the Spider Woman is a rarely seen but deeply cherished gem of musical theatre. This production shakes the cobwebs of its past away, bringing a new and sharp sense of intimacy to the musical. 

Kiss of the Spider Woman primarily takes place in a prison cell where Molina, a window dresser who is condemned for his sexuality, and Valentin, a political prisoner, develop a slow and unlikely friendship under the tortuous conditions. Molina relays the stories of movies that he watched as a child, starring the Hollywood actress Aurora, as a form of escapism; imagining himself in a magical and glittery world away from reality. Valentin, initially shrouded with anger, slowly thaws in Molina's warmth and friendship, until the two men discover a connection that will either save or doom them further. The premise of the musical is dark and hard-hitting, quite literally at times, making the stark contrast with the fabulous sequences of Hollywood glamour such a fascinating choice. 

The musical boasts of an impressive score by the famous duo of Kander and Ebb, most well known for Chicago, another prison based musical, and Cabaret, a musical that is set to the backdrop of political unrest. The distinction between the solo soulful ballads of Molina and Valentin as they are trapped, and the high energy belters by Aurora, make the musical unique as the joy of Hollywood and musical theatre seep into the dark prison walls. The political Anthem Day After That as Valentin's rallying cry is carried up by the entire cast and is a chill-inducing moment; yet the musical's strength comes from the introspection of the individual characters. 

That being said, the first act can at times feel weighed down by the sheer number of songs (16 as opposed to act two's 7 songs), along with the slow set up of the musical. This does cause audiences to, at times, lose interest or focus on the musical as the repetitive nature of dialogue and lyrics, as beautiful and touching as they are. The slow pace of the first act, along with the focus on the show's brutality and heavier themes can make it a hard watch, almost unbearably so especially in the face of the sexual and physical assault of Molina and Valentin. The jarring transitions to Aurora's light and joy comes as a welcome break but can feel a little too abrupt at times. 

However, the show's second act is flawless, making the slow set up of circumstances well worth the wait. The story explodes as passion, fear and rebellion collide on stage, making it thoroughly gripping. If the first act were the slow weaving of the web, the second act has the audience ensnared as the Spider Woman's kiss nears the audience, which is enticing and irresistible. The heightened emotions and stakes really do strike a chord for the audience as they watch at the edge of their seats, especially as the themes are painfully still relevant today. 

Paul Foster's direction places the character at the centre of this production, allowing audiences to connect more keenly with Molina. The flamboyant elements of Molina's fantasy starring Aurora have been stripped away, relying heavily on costume and choreography and placing more importance on Molina's reactions and the ability for Aurora to perform and connect with the audience. Foster's direction along with the meaningful lyrics really evokes the deep and conflicted emotions of the characters, allowing them to be magnified on stage. 

David Woodhead's set uses the best of the Curve's studio space, creating a two level set with sliding cell doors. The production doesn't require many props, keeping the furniture at a minimum and yet manages to capture the sense of claustrophobia well; especially during the Over the Wall sequence. The use of a cage-like platform is often raised, creating the overhead shadow of cell bars whilst also providing Aurora with a commanding height.

Andrzej Goulding's video design provides a sinister backdrop for the production, with the Spider Woman's cobwebs slowly forming in the corners of the screen as the characters are pulled in tighter in the web of betrayal. A nightmarish sequence of closeups opens the show, instantly providing audiences with a keen sense of being unsettled. The video design also brings glorious lights and colours, along with a dazzling touch of Hollywood glamour, as Aurora's movie posters are highlighted in the background. It's an effective use of screen throughout the show. 

Howard Hudson, as per usual, infuses his own brand of storytelling through his light design, creating a haunting narrative whenever the Spider Woman is involved. The lighting design creates a sense of entrapment for Molina and Valentin when they are in the cell, but it's most notable during the moments where Aurora takes over the stage with a gorgeous spotlight. Matt Peploe's sound design adds a hollow and echoing effect to the prison, but is most impressively used as a haunting effect when the Spider Woman treads towards Molina. 

Gabriella Slade's costumes for Aurora are the show's most theatrical element as the large gowns adorned with ruffles, feathers, sparkles and layers provide beauty and entertainment in the otherwise grey surroundings. Molina's slow reclaiming of accessories in the cell, along with his former occupation as a window dresser makes for an interest subtext as well. However, it is Slade's outfit for the Spider Woman that is most stunning. The fitting black dress that boasts both of magnificence and of monster is a brilliant blend, and really does seal the deal for the production. Sam Cox's wig designs for Aurora, particularly of the multiple colours of the same wig that match her outfits, is a fun little detail. Jackie Saundercock's make up design makes an impact as the accumulation of bruises and injuries on Valentin is revealed, through the painfully realistic fight sequences directed by Kate Waters. 

Joanna Goodwin's choreography weaves the musical elements together, as Aurora's fantastical numbers take Molina from the depths of Hell to Heaven. These numbers feel authentic to Argentina, with stunning, sweeping and seductive dances luring Molina into Aurora's world. The choreography fills the otherwise contained stage, really highlighting the differences in the two parallel worlds. Goodwin's choreography for the Spider Woman to creep on the edges of the stage, as she stalks and closes in on her prey, is thrilling to watch, culminating in an unforgettable performance. 

The small but mighty cast manage to transform the small studio stage into a grand space as they command the stage well. Jess Buckby, Alex Pinder, Reece McGowan and Davide Fienauri make up the ensemble of fellow prisoners and Aurora's back up dancers amongst many other smaller roles, with a convincing commitment to each of their roles. Damian Buhagiar is terrifying as the prison guard, with a performance that is dreadfully realistic; which makes his turn as an additional ensemble member for the Hollywood sequences all the more enjoyable. Jay Rincon's vocals and unshakeable confidence makes the manipulative and villainous warden a strength for the production. 

Tori Scott as Molina's mother serves as a warm presence throughout the piece as her motherly love seeps into everything that Molina does. Scott's emotional turn in You Could Never Shame Me is one the show's stand out moments, as her unconditional love shines in the face of all opposition. Gabriela García, likewise, becomes the emotional anchor for Valentin as she remains a safe haven and a guiding hope in the darkest nights; making her presence felt throughout the play. Although a very limited role, García still delivers gorgeous vocals and makes quite an impression. 

George Blagden proves himself to be a very promising performer, with a strong performance as the rebellious, angry and loyal Valentin, refusing to betray his cause. Balgden's performance as Valentin, who slowly allows Molina to care for him after being stripped of his dignity, is the perfect balance of bravery and vulnerability; rendering the growing relationship between the two men a fascinating one. However, it is Blagden's vocals that truly makes his performance so mesmerising, delivering vocals that are wrought with emotions. 

Anna-Jane Casey is compelling as Aurora, with a striking star presence as she commands the stage in her larger than life songs, dazzling costumes and impressive choreography. Casey also plays the Spider Woman, an imaginary creature in Molina's mind from a movie that he had seen as a child, whose single kiss could kill anyone in a moment. Casey's spider-like mannerisms as she clings to the edges of the stage induce the unsettling sensation that allow Molina's fear to be realised.

Fabian Soto Pacheco propels this musical to new levels as Molina, with a brilliant performance. Pacheco's performance brings out the complexity of Molina, both in the current situation as he is forced to confront his own morality and loyalty to his friend and mother, and in the subject of the larger world that they struggle to navigate on the daily. Pacheco's optimistic spirit and kind heart, even in the darkest of times, makes the show all the more heartbreaking; and yet the ultimate message all the more powerful. Pacheco's performance takes the audience on an emotional rollercoaster as they laugh, dream, love and hide along with him.

Kiss of the Spider Woman returns to the UK after two decades, and it is well worth the wait. The musical isn't for everyone, with such a heavy emphasis on the brutality of the show; but it provokes a conversation and a powerful reminder about the nature of humanity.

Kiss of the Spider Woman is currently playing at the Curve Theatre in Leicester until 25th April, before going on tour to the Bristol Old Vic and Mayflower Southampton. Tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Marc Brenner