Review: ‘Kiss of the Spider Woman’ at Bristol Old Vic

By Laura Cooper, Second Year English and Film

Musical revivals have been taking the theatre world by storm in recent years, from Rebbeca Freknell’s immersive readaptation of Cabaret, to Jamie Lloyd’s polarising take on Evita starring global superstar Rachel Zegler. It is refreshing, then, to add a musical to this list of revivals that is rarely put to stage, providing it with a new life and a new audience. Kiss of the Spider Woman comes from iconic songwriters Kander and Ebb (the minds behind Chicago and Cabaret), its energetic score blending infectious Latin melodies with all the frills of classic Broadway. The show has been adapted by Paul Foster for the Bristol Old Vic this spring, and I was lucky enough to attend the press night of this breathtaking new production. 

Kiss of the Spider Woman tells the story of an unlikely bond formed between two inmates in an Argentinian prison: window-dresser Molina, who passes the time by recounting classic movies from his glamorous idol Aurora, and Valentin, a political revolutionary who just wants to get back to his people, especially his lover, Marta. As their lives intertwine and the world of the prison becomes increasingly hostile, they must decide if they can trust in the shaky relationship they have formed. All the while, Aurora goes from faraway celebrity to menacing otherworldly presence in Molina’s life, taking the form of her darkest role, the Spider Woman. 

Bristol Old Vic / Marc Brenner

The staging of this production was simple but used to great effect, building the sordid atmosphere of the gritty prison where the musical takes place. Prison bars dividing the stage created wonderful potential for ensemble choreography and an upper balcony level was used by guards to symbolise their power over the inmates. I enjoyed these practical staging elements, but found myself a little let down by the projector screens at the back of the stage. Whilst effectively utilised in some instances (e.g. during a hugely emotional moment where a character takes a phone call in Spanish and her speech is translated on screen), I felt its use was often a little uninspired. One of the show’s buzzy song and dance numbers, Gimme Love, was bursting with energy in its performances and dazzling costumes, but somewhat let down by the cartoon-style pink leaves projected onto the backdrop. 

This complaint is not to minimise the rest of the number: Anna-Jane Casey is phenomenal as Aurora/the Spider Woman, an enigmatic figure that exists in blissful separation from the painful realities the other characters face. She proves herself as a true triple threat in this song and throughout the show (her skills as a dancer were especially thrilling to watch), her charismatic melodrama moving from alluring to terrifying as the story develops. She is complemented by the dizzyingly talented ensemble and glittering costumes designed by Gabriella Slade, channelling bold Latin and Ballroom glamour with shades of Cabaret’s menacing Emcee. 

Speaking of performances, I found the show’s biggest highlight to be the talent of Fabian Soto Pacheco and George Blagden as leading prison inmates, Molina and Valentin. Pacheco as Molina brought beautiful light and shade to the role, blending much needed comic relief with tragic earnestness as he wrestles with morality, yearning, and what he must prioritise in his desperate situation. Blagden is phenomenal as Valentin; it is a grounded performance that provides a necessary contrast with the other two flamboyant leads, and his staggering performance in ‘The Day After That’ was my personal highlight of the whole show, leaving me deeply moved by his blending of rage and hope, and stunned by his outstanding vocal range. 

Bristol Old Vic / Marc Brenner

The show’s climax hinges on the electric chemistry between these two leads that is meticulously built over time, and they ensure that the tragic emotional beats are believable at every turn. I was a huge fan of the closing number, Kander and Ebb’s cynical, tongue-in-cheek humour appearing full force in the lyricism and jazzy composition, whilst still retaining the poignance present throughout the second act. Everything comes together in this final sequence: Slade’s luxurious costuming, Pacheco’s imaginative innocence, Blagden’s compelling strength, and Casey’s supernatural charm. 

There are many themes at play throughout Kiss of the Spider Woman, looking from queerness to Marxism to human rights and beyond, and whilst trying to tackle this much means that we aren’t able to explore these things in a huge amount of detail, one can’t fault the show’s ambition. It takes these complex topics and places them in a massively entertaining world, carried by its epic score performed by fantastic actors, and mostly complemented by its slick design. Many thanks to the Bristol Old Vic theatre for the chance to see this musical revival come to life! The show runs until 16th May and tickets are available here.

Featured image: Bristol Old Vic / Marc Brenner

Will you go and watch this show?