A musical to rival Cabaret and Chicago
MAST Southampton
⭑⭑⭑⭑⭑
John Kander and Fred Ebb are best known for writing Cabaret and Chicago. Their musical Kiss of the Spiderwoman is far less familiar. Adapted from the novel by Manuel Puig, it premiered in the West End in 1992 before transferring to Broadway in 1993 where it won seven Tony Awards including Best Musical. I can’t believe it’s not performed more often.The score, infused with evocative Latin rhythms, stirs deep emotions, while story is profoundly moving, not to mention harrowing. This co-production by Bristol Old Vic, Leicester Curve and Southampton MAST is tremendous.
This revival is far more intimate than the apparently spectacular premiere over thirty years ago. But no way is it a cut price version. The set entirely befits what is ultimately a love story. The setting is a prison cell in 1970s Argentina, shared by Valentin, a political prisoner, and Molina, a gay man.
These were dark times in that country. The growth of fascism shown in Cabaret is fully developed here, the celebrity prisoners of Chicago are now wretched victims of the governments of Juan Peron’s widow and the subsequent military junta of General Galtieri. Trades unionists, left wingers and gay people face imprisonment, torture or, notoriously, become The Disappeared.
Seeking refuge from the brutality of prison life, Molina, played by Fabian Soto Pacheco and wearing soft feminine garments, transports himself to his childhood memories of movies featuring a screen goddess called Aurora. As he recounts the plots of these films, the star materialises before us singing and dancing.
David Woodhead’s set brilliantly contrasts the austere greyness of the cell and its two narrow beds and floor to ceiling iron bars, with the colourful glamour of Aurora and her fabulous costumes, designed by Gabriella Slade. She appears as a mature woman, presumably reflecting a child’s perception of the movie star as much older than himself.
Anna-Jane Casey is charismatic in the role, commanding the stage with her swaggering dance and her seductive smile. Projected at the back of the stage are scenes from her black-and-white movies, cleverly created by Andrzej Goulding.
George Blagden delivers a compelling performance as Valentin. As an idealistic revolutionary, and a heterosexual, he is initially indifferent or even hostile to Molina but comes to value the escape into ‘beauty and love’, as the latter describes it. The movies and their songs become more meaningful to him than the ideological book by Karl Marx he keeps by him.
Both sing and act well. Molina is vulnerable and pragmatic, Valentin tough and principled. Although both remain attached to loved ones outside the prison walls, their love for each other grows, as both recognise and appreciate the strengths of the other. Inevitably we think of fluidity of gender and sexuality.
The prison authorities attempt to exploit this developing relationship to pressure Molina into extracting information about Valentin’s associates.
What follows is a gripping struggle within Molina between love and self preservation. Throughout, the movies (a metaphor for all art), not only provide escape from life but a blueprint for how to live
All the acting is top class but I’ll mention Jay Rincon as the cunning, sadistic Prison Warder. His chilling performance sends a shudder down the spine and makes the scenes of violence that much more believable.
This production, directed by Paul Foster, serves as a timely reminder to people like me who spend most of our time in London theatres that regional productions can be as artistically accomplished, emotionally powerful and theatrically thrilling as anything the capital has to offer.
Kiss of the Spiderwoman completes its short tour at The MAST Southampton on 6 June 2026.
Paul paid for his ticket.
Watch this review on the YouTube channel Theatre Reviews With Paul Seven
