Review: KISS OF THE SPIDER WOMAN - Bristol Old Vic (07/05/26)

Slick, stylish new production brings the best out of this underrated Kander & Ebb work

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Though the incomparable Goliaths of musical theatre John Kander and Fred Ebb have quite the compositional back catalogue from which to choose, it is fair to say that the vast majority of people, when asked, would only be familiar with their two biggest hitters, “Chicago” and/or “Cabaret”, with both currently experiencing long-term major revivals. Enter their surrealist, seven-time Tony-winning 1992 musical “Kiss of the Spider Woman”, originally a novel by Manuel Puig, which tells the story of Molina, a window dresser who is serving a prison sentence in Argentina for 'corrupting a minor', and newcomer to the prison system Valentin, a Marxist revolutionary and political prisoner, with whom he shares a cell for the duration of the story.

Much of this show focusses around the relationship development between the two men, first presented as horribly mismatched, with Valentin initially showing complete disdain, and lack of understanding of Molina, especially for the theatrical fantasy landscape into which he disappears, as a form of escapism from prison life. In this dream world he has created for himself, a vivid reflection of his own desire for a life of glamour and glitz, the roost is ruled by Aurora, an alluring prima donna whom takes on a variety of roles, all of which Molina loves. However, it is the part of the Spider Woman, who can kill with her kiss, that he fears above all others. Aurora drifts in and out of the action like a spectre, often acting in parallel with her chimerical counterpart, as he yearns for a life away from the confines of the cell in which he finds himself trapped.

Anna-Jane Casey and Fabian Soto Pacheco (credit: Marc Brenner)

The building of layers into the relationship is what keeps us hooked, as the two men, originally at odds with one another due to their differences, learn to accept each other, partly through communication, partly due to the torture and interrogation inflicted on Valentin, as prison officials attempt to break him, and draw out information about his fellow revolutionaries, and Molina, as a result, caring and covering for the downtrodden Valentin. Terrence McNally's book is a beautiful balance between the gritty realism of revolutionary prison life, and the wild, colourful fantasy presented by Molina's imagination, and Kander & Ebb's score is an equally marvellous mix of film, pop and, most vividly, latin music, all executed quite exquisitely by cast and orchestra alike.

Fabian Soto Pacheco is our fabulous but forlorn window dresser Molina, who disappears into the character with aplomb; he draws us in, keeps us entranced by both the reverie and the reality, expressing beautifully his character's innate duality. He has real power yet profound vulnerability about him, and it's equal parts magnificently magical and achingly authentic. Taking on the eponymous Spider Woman is Anna-Jane Casey, who channels her deadliest diva evocative of the great Chita Rivera, but putting her own sultry spin on the character, as she effortlessly slips into the story and out again as needed. Casey is simply spellbinding, a true triple threat, emanating immense personality and dominating that stage every time she sets foot into the spotlight.

Playing opposite Pacheco as Molina's battered and bruised cellmate Valentin is George Blagden, who absolutely nails the character layering, from the initial hyper-masculine standoffishness and rigid stoicism, to the more open, receptive, and emotionally aware individual he grows into. He gives a performance of real consideration and poise, but is never afraid to show us the fire and fury, and truly lets rip when he wants to; in addition, his chemistry with Pacheco is superb, and it is this which largely drives the show forward.

Fabian Soto Pacheco (credit: Marc Brenner)

On top of some first rate acting, the vocals in this production are some of the finest I have heard in a long time; Casey, Pacheco and Blagden all shine individually, perfectly complimenting one another, and eliciting chills galore when the three of them sing together; this is only enhanced once the ensemble come into play, more than living up to the previous time this musical was seen on UK shores around 35 years ago. It is the direction by Paul Foster, though, that will have a lot of people talking, especially through the combination of Howard Hudson's lighting, and video design by Andrzej Goulding, which is entrancing, captivating, and accentuates the balance between the edgy and the eccentric with wonderful flair and innovation.

The whole production feels slick, stylish, and contemporary, there is an electric zeal with how the story has been brought to an entirely new generation, and it was hugely exciting to behold. It may have taken over three decades for this modern classic to return to the British theatre scene, but my goodness was it worth the wait.

★★★★★ (5*)

"Kiss of the Spider Woman" runs at the Bristol Old Vic until the until the 16th of May (tickets)

{PR/Gifted tickets}