The 1993 Tony-winning best musical
Kiss of the Spider Woman, with music and lyrics by Kander and Ebb (
Chicago,
Cabaret) and book by playwright Terrance McNally, was just made into a movie starring Jennifer Lopez. What's better than seeing an acclaimed musical on the screen? Seeing it live on stage! And now finally I had the opportunity to see this rarely done musical, thanks to Teatro del Pueblo. I don't know if the timing with the movie was intentional or coincidental, but this story of two men imprisoned by a fascist regime, one of them escaping into the fantasy world of his beloved movies, couldn't come at a better time. Featuring a talented cast and impressive design in the gorgeous Southern Theater, this is a rare opportunity to see
Kiss of the Spider Woman live on stage as it was meant to be, and "celebrate Latine voices, queer identity, and the power of resilience!"
Continuing through November 23 only.
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Molina (Zakary Thomas Morton), Valentin
(Silvestrey P'orantes), and ensemble
(photo by Molly Jay Photography) |
The musical
Kiss of the Spider Woman was based on the 1976 novel by Argentinian Manuel Puig, which
the award-winning 1985 (non-musical) film was also based on. The entire story takes place in a prison cell shared by Molina, an openly gay man imprisoned for having sex with a minor (which he claims was a trap), and Valentin, a revolutionary who is tortured daily to give up the names of other revolutionaries. To escape the harsh world of prison, Molina recounts his favorite movies, particularly those starring his favorite actor Aurora, who in one movie plays the Spider Woman, who kills with a kiss. The two men gradually form a bond, despite the fact that the prison authorities are giving Molina favors to report on Valentin. Molina does what he has to in order to survive, but in the end, he doesn't betray his friend, no matter the cost.
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Molina (Zakary Thomas Morton) and Aurora
(Maria Isabel, photo by Molly Jay Photography) |
Artistic Director Alberto Justiniano directs the piece with urgency and momentum, deftly transitioning from reality to fantasy. The standout in the strong 13-person cast is Zakary Thomas Morton, with a lovely nuanced portrayal of Molina, so sincere and endearing. He's well matched in Silvestrey P'orantes as the tough revolutionary who gradually softens. Maria Isabel beautifully embodies Aurora aka the Spider Woman in all her forms, luring men into her web (literally - a couple of spiderweb forms are illuminated on the sides of the stage). The strong ensemble plays multiple characters, especially impressive is the hard-working five-person chorus (Robert P. Banks, Sheila Colmenares, Eric Lee, Leo Rossmiller, and Quinn Wambeke) portraying prisoners and filling out the fantasy numbers.
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| the Spider Woman (Maria Isabel, photo by Molly Jay Photography) |
The impressive set features a detailed prison cell in the middle of the cavernous performance space, with two beds, posters, and curtains, which is moved to the side to make space for performance numbers. A wall of prison bars lines the back of the space, and either side of the arch features a platform reached by stairs. Often I see sparse sets at the Southern, letting the historic space speak for itself, but in this case they've done a nice job filling up the space in a way that feels organic and not crowded. The costumes range from drab prison wear to colorful and elaborate costumes for the fantasy sequences (scenic design by Jacelyn Stewart, costume design by Caroline Amaral Zaltron).
I was previously unfamiliar with this score, but it sounds like a Kander and Ebb score, meaning clear and clever lyrics and emotionally evocative music. The small but mighty five-person band sits on the side, playing many instruments including woodwinds, brass, and strings. They're led by music director Caitlin Halmrast Lucic who impressively conducts while playing various percussion instruments. It's fun to watch her, drumsticks and mallets doubling as conductor batons.
I found myself relating to Molina and his love of movies; perhaps I also have a tendency to escape harsh reality into the world of storytelling. Which is a fine way to cope, but we also need a little of Valentin's commitment to action and activism to make the real world better. I'll leave you with a particularly moving and poignant moment of the show, when Valentin sings about his cause, that really speaks to this present moment:
And the war we've fought to win
I promise you, we will win
If not tomorrow
Then the day after that
Or the day after that
Or the day after that
Or the day after that
Or the day after that
Or the day
After that!
