Review: KISS OF THE SPIDERWOMAN, Curve Theatre Leicester
Photo credit: Marc Brenner
Returning to Curve, Leicester is always a pleasure and privilege, and no more so than yesterday when we were treated to one of Kander & Ebb’s lesser known and performed musicals, Kiss of the Spiderwoman.
The musical centres on prison cellmates, Molina (condemned for his sexuality) and Marxist revolutionary Valentin (imprisoned for his political views), their often fraught yet progressive relationship, and Molina’s re-telling and re-enacting of his favourite film star Aurora’s movie scenes, which allows him to escape his present reality behind bars. Despite a slightly too long first act, the production never loses momentum, with high stakes played throughout.
Directed by Paul Foster, soon to be directing Jordan Luke Gage’s Redcliffe at Southwark Playhouse, this brand new production is being staged in the venue’s Studio Theatre, with the touring production of The Rocky Horror Show taking up residency in Curve’s main space this week. A smaller, more intimate performance space suits this dark show PERFECTLY, bringing the stark confines of the Buenos Aires prison to fruition. David Woodhead’s set design comprises a square, suspended platform also used for lighting purposes, and prison railings spanning the width of the stage, along with a walkway on the upper level. Simple though it may be, less is more here, and it’s certainly no less effective. Andrzej Goulding’s video design and creation further enhances the set at times, giving a real cinematic quality to the performance but is not overused.
Despite working with a smaller square footage, Joanna Goodwin’s choreography does not suffer, with elements of Fosse and finding nuances in the music with expert ease - the ‘Morphine Tango’ being a particular favourite. Goodwin is able to go to town with the big, glitzy musical numbers, which act as a sharp contrast to the muted, more sombre moments of the piece. This also allows lighting designer Howard Hudson to play in what is otherwise a fairly bland, yet fitting colour palette, combining more naturalistic, shadowy effects in the majority.
The six-strong band, led by Dan Glover, are sadly out of sight and whilst getting a rolling credit list on the screens during the bows, we don’t get to show our appreciation to them which is a little disappointing. This said, they perform Sarah Travis’ orchestrations and musical arrangements of Kander’s score to perfection, seamlessly moving from salsa to tango to big, belty musical theatre numbers effortlessly. Also, the harmonies throughout are absolutely on point, with ‘Dear One’ - a quartet between Molina’s Mother (Tori Scott), Marta (Gabriela Garcia), Molina and Valentin - a resounding highlight. Sound designer Matt Peploe ensures that every word and note can be heard when intended, crystal clear, striking an often hard balance especially when piping live music through from a different space in the building.
While the majority of the costumes consist of monochromatic tones, Aurora’s costumes are stars of the production in their own right! Gabriella Slade has clearly had a field day in creating these outfits for Anna-Jane Casey who looks phenomenal performing in them - ever the leading lady. The materials, colours and textures used glisten under the stage lights, injecting technicolour into this black and white, film-noir type tale, all except for the black Spiderwoman outfit, a role of Aurora’s that scares Molina as she represents death.
The role of Aurora/Spiderwoman is a role that Casey was born to play. We’ve seen her in so many other roles, each of which she has executed exceptionally well, but this one lands slightly differently. The way she slinks around the stage as Molina’s fantasy, drawing him in and pushing him away; you almost feel like she’s doing the same to you with a hypnotic type quality.
George Blagden’s Valentin probably has the biggest character development during the show. From a very hostile, shielded character to having his eyes opened to alternative views and loyalty, as shown by Molina, it demonstrates a clear character arc that should be applauded. It’s beautiful to see his and Molina’s relationship unfold.
Despite Aurora’s character being so flamboyant and just generally fabulous, Fabian Soto Pacheco as Molina certainly gives her a run for her money. Remember that name, Fabian Soto Pacheco, as he is destined to be a big star. The high energy, the warmth, the kindness, the unwavering loyalty, the almost child-like quality he portrays is remarkable. Furthermore, vocally he has a stunning tone, shown at its best during the beautiful ‘She’s a Woman’.
With only a cast of 11, this is an ensemble driven piece through and through, with Jay Rincon and Damian Buhagiar especially menacing as the Warden and Prison Guard respectively.
This is an undeniably brilliant musical revival, which we hope more audiences will be able to see beyond Leicester, Bristol and Southampton.
***** Four stars
Reviewed by: Jenny Ell
