Kiss of The Spider Woman
It has been over 30 years since Kiss of The Spider Woman has been seen in a UK theatre, and it seems obvious that Kander and Ebb’s favourite musical score was well overdue for an outing and a new vision.
Based on the 1976 novel by Manuel Puig (the novel was banned on publication in his native Argentina), the story is set in a vicious prison where two prisoners, Molina (imprisoned for his sexuality) and Valentin (a political activist) find themselves sharing a cell. As an unlikely friendship develops, Molina shares his retelling of the glamourous movies he watched as a child while his mother worked in a movie theatre to support them. The movies star his screen idol, Aurora, who’s one role as Spider Woman terrified Molina. As their beatings increase and the Prison Guards try to get the information they need from their prisoners, the lines between truth and fiction begin to blur, but the two men have found a deeper connection than either of them could have imagined. At what cost will this be? Will they each betray the other to get out of this squalor?
Fabian Soto Pacheco takes the lead role of Molina. He has a wonderful storytelling to his performance and easily transports the audience to the movies he is reliving on stage. He plays the character with a wonderful charm and subtle comedy that lightens the mood in this darkest of scenarios.
George Blagden as his fellow inmate Valentin has a rugged masculinity in contrast to Molina’s feminine aura. Both Pacheco and Blagden work wonderfully together and their energy (even in scenes where they are not getting on) bounces back and forth, drawing the audience in to their situation, as we become part of it instead of merely observing what is taking place.
The titular role of Aurora / Spider Woman goes to Anna-Jane Casey who once again makes it all look so easy! With outstanding costumes designed by Gabriella Slade and choreography by Joanna Goodwin, we are instantaneously transported to a nostalgia of the golden age of film noir. The glitz and the glamour are there and the influence of Kander and Ebb’s other well-known musicals (Chicago and Cabaret) is unquestionably apparent, an unspoken, subtle influence. Casey’s vocals are simply flawless and as the Spider Woman she embodies a ruthless persona with her spider-like qualities within her movements and style.
Paul Foster’s direction and David Woodhead’s set design work well in the smaller studio space at the Curve and add an intimacy to the piece that would perhaps be lost on a larger scale. The audience feel a part of it all, we are shocked by the prisoners’ beatings, intrigued by Molina’s storytelling, and eclipsed by the building relationship between the two characters.
The story itself is frighteningly still as relevant in today’s world as it was in 1976, albeit that we are now allowed (mostly) to tell the story and not be restricted by speaking out. It is a beautifully aesthetic production for the ear as well as the eye and whilst you might go away thinking what have I just witnessed! (the movie storylines are a little crazy in places), but all the pieces will slot in to place as it’s one of those performances that you walk away thinking about, it stays with you until all the pieces have slotted in to place and then some.
This show was reviewed on the 7th April 2026 at the Curve Theatre, Leicester where it runs until the 25th April 2026. Tickets can be found here: KISS OF THE SPIDER WOMAN - Curve Theatre, Leicester
The production then heads to the Bristol Old Vic from the 29th April to 16th May and Southampton Mayflower Theatre from the 2nd to 6th of June 2026.
Review written by Rachel Louise Martin
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Photo credit: Marc Brenner
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