Kiss of the Spider Woman at Curve Theatre, Leicester Review
Photo by Marc Brenner
Written by Emmie for Theatre and Tonic
Disclaimer: Tickets were gifted in return for an honest review. All views are our own
When people think of Kander and Ebb, they usually think of iconic shows like Cabaret and Chicago, both of which have captivated audiences for years. While Kiss of the Spider Woman may not be as widely recognised, this production is so brilliantly crafted and politically charged that it carries remarkable depth, and its impact is immediate.
Bringing the show back to the UK stage for the first time since its last run at the Shaftesbury Theatre in the early 1990s, Paul Foster directs a spectacular staging with a dynamite cast and creative team at its core.
Based on a 1976 novel by Manuel Puig, Kiss of the Spider Woman is set in an Argentine jail and centres on the unlikely bond between a queer window dresser, Molina, and a political revolutionary, Valentin. In a pursuit to escape the harsh conditions, Molina conjures up fantasies of a seductive and dangerous Spider Woman in a really interesting juxtaposition between the two worlds.
Staged in the Curve Theatre’s studio space, this production feels more intimate, amplifying the fizzing energy that consistently simmers beneath the surface. The creative team are truly the crème de la crème when it comes to executing this atmosphere, especially in a production which has taken such a short space of time to bring to the stage. David Woodhead’s set design, Howard Hudson’s lighting design and Andrezj Goulding’s video design superbly shape the space to feel as intimate or as vast as the production requires in any given moment; it’s hard not to be left in awe of that alone. The projections alone reminded me of the recent production of Dracula starring Cynthia Erivo, and they really emphasised Kiss of the Spider Woman’s transitions between the two worlds. Joanna Goodwin’s refreshing choreographic style and Kate Waters’ fight direction work in tandem to ensure the production’s physical language aligns perfectly.
Then there is the dynamite of a cast. Anna-Jane Casey is utterly striking as Aurora and Spider Woman. A dream to watch as she glides across the space, I was left in awe of her physicality in this role. Each reveal of Gabriella Slade’s showstopping costumes, one after another, is worth the price of admission. Fabian Soto Pacheco delivers an outstanding performance as Molina. Although he is extremely flamboyant initially, there is a real warmth and vulnerability which he brings to the surface of his character. George Blagden matches Fabian’s performance perfectly as Valentin. Together, their dynamic grows naturally and with so much heart that you really believe the emotion behind every breath in this performance.
The hard work isn’t lost in its ensemble cast, either who work incredibly hard in multiple roles in this show.
This striking revival of Kiss of the Spider Woman feels so perfectly at home in the studio space that my only gripe is its short run in Leicester—it deserves far longer to welcome audiences from across the UK, who would undoubtedly fall for all that this production has to offer.
Kiss of the Spider Woman continues at the Curve Theatre, Leicester until 25 April before heading to the Bristol Old Vic (29 April to 16 May) and Mayflower Studios (2-6 June).
★★★★
