Review: Kiss Of The Spider Woman (Curve Leicester / UK Tour)

Review by Daz Gale

⭐️⭐️⭐️⭐️

When it comes to classic musicals written by Kander and Ebb, the odds are that the first one that comes to mind would be either Cabaret or Chicago. They had many more credits to their names throughout their prolific careers, however, and another one of those perhaps lesser-known ones makes a long-awaited return to UK shores with a brand new production of Kiss Of The Spider Woman. Opening at Curve Leicester ahead of stops in Bristol and Southampton, would this belated revival have audiences caught in its web, or would it end up tangled in its own threads?

Kiss Of The Spider Woman premiered in 1992, but inexplicably has not been seen in the UK since. 34 years later, and hot on the heels of last year’s film adaptation starring Jennifer Lopez, it’s back for the first time. Set in a brutal prison, Molina is midway through serving a sentence for his sexuality when he meets his latest cellmate, Valentin, a political prisoner. With forces attempting to encourage betrayal and the growing dangers that wait for them outside their cell, they escape their harsh reality through Molina recounting the films made by his favourite star, Aurora, particularly that of the seductive and dangerous Spider Woman. As their conditions worsen, truth and fiction blur, with the two men forging a deep connection, though this could come at a high cost.

Written by Terrence McNally, Kiss Of The Spider Woman weaves quite a dark and twisted web through its narrative. As the lines between fantasy and reality blur, it can prove slightly unconventional and even weird in its approach, but that makes it all the more captivating. If Cabaret is known for the darkness of its themes, Kiss Of The Spider Woman takes that to a whole new level in a story that is unflinching in its gritty realism, even disturbing at times. It may not lead to the most comfortable of watches, with one particularly graphic scene among the oddest I have ever seen, but one thing is for certain: it is never boring.

Much of that is down to Paul Foster’s direction, who has found ways to take the story so that it connects to the audience, rather than leaving them cold. The show may divide audiences and is certainly less commercial than the aforementioned other Kander and Ebb shows, but there is very clearly a deep love of the show here from Foster, which is evident in every choice he makes through inspired and meticulous direction. Curve is known for the quality of their productions, and this one sits in their smaller studio space, allowing for a much more intimate and exposing experience, while still feeling remarkably grand in its creative choices.

Where Kiss Of The Spider Woman truly excels is in its design elements. A stark set design by David Woodhead is used to fantastic effect, coming to life through glorious lighting, courtesy of Howard Hudson, with an incredible use of video design from Andrzej Goulding, transforming the space into a movie in itself, effectively used in the fantasy sequences, and providing a stunning backdrop for the Spider Woman through its creepy yet compelling visuals. Gabriella Slade’s costume designs are also as gorgeous as would be expected from somebody who has won the Olivier Award two years in a row, with Aurora’s outfits wowing at every opportunity. Another strong aspect is the outstandingly good choreography from Joanna Goodwin, ensuring every inch of the Curve’s studio space bursts with life in some of the more standout moments.

I must admit to not being as familiar with the songs in Kiss Of The Spider Woman as I am with some of Kander and Ebb’s other shows, but their quality is clear to see, with certain numbers not sounding too dissimilar to one or two in Cabaret. That speaks to their distinct style, and some of the musical numbers are just as good as the classics that dominate their catalogue. ‘Dressing Them Up’ and ‘Good Times’ are among the highlights, with the rousing ‘Day After That’ the equivalent of their very own ‘One Day More’ from Les Misérables. However, the standout number here is undoubtedly the title number ‘Kiss Of The Spider Woman’, performed in spectacularly good fashion by the always amazing Anna-Jane Casey.

Taking on the roles of Aurora and Spider Woman, Anna-Jane Casey is at her best as she seductively struts onto the stage with the kind of magnificent stage presence most could only dream of. Delivering a performance that ensures all eyes are on her, Casey is breathtakingly brilliant in the role, delivering incredible vocals on ‘Good Times’ and the title number. It is the way she carries herself, however, that makes this a masterclass performance, with her energy, dexterity and overall aura bringing a sense of intrigue and danger to the story. Her looming presence can somehow balance an unsettling quality while offering moments of comfort in the escapism she offers. As fantasy and reality blur, however, the foreshadowing and sense of discomfort increase in a portrayal that gives Casey plenty to play with and showcases what a force of nature she is.

Though the Spider Woman is in the title and dominates the poster, this is a story about the two cell-mates, Molina and Valentin. Two wildly different characters, whose contrasts add to a thrilling dynamic. Fabian Soto Pacheco is magnificent as Molina, managing to convey a seemingly flirty and carefree nature with a real weight of worry about the dangers that await him. There is a magnitude in his performance that especially comes alive when he is mirroring that of his idol, Aurora. Molina is the catalyst for the story, and Pacheco’s performance is wonderfully reflective of that. George Blagden delivers a comparatively more understated performance as Valentin, though his growth allows for bigger choices to come out as the show progresses, with Blagden mastering the slow-burn to full effect.

Another highlight among the cast is Tori Scott in an underused but incredibly memorable turn as Molina’s mother. The relationship between her and her son forms a big part of the emotional heart of the story, exemplified in her performance of the musical highlight ‘Dear One’. Performing alongside her son, Valentin and Marta (a similarly underused but captivating turn from Gabriela Garcia), this proved to be the most emotional moment of the musical, with Scott’s solo number ‘You Could Never Shame Me’ similarly stunning.

Kiss Of The Spider Woman may not be the most commercial of the Kander and Ebb catalogue, but it is still surprising it has taken this long for a production of it to be seen in the UK. Admittedly, aspects of the material may not quite match the level of Cabaret, but this belated revival does a great job of masking some of the more questionable aspects in a very strong production. Inspired direction, stunning design and a sensational cast make this a thrilling watch, albeit unsettling and uncomfortable at times. For the birth of a new production, Kiss Of The Spider Woman may only be embarking on a very short leg across three venues, but don’t be surprised if this new take spins a much bigger web in the future.

Kiss Of The Spider Woman plays at Curve Leicester until 25th April. Tickets from www.curveonline.co.uk

It then plays at Bristol Old Vic from 29th April - 16th May, and Southampton Mayflower Studios from 2nd - 6th June.

Photos by Marc Brenner