Kiss of the Spider Woman
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Introduction to "Kiss of the Spider Woman"
"Kiss of the Spider Woman" premiered in London’s West End at the Shaftesbury Theatre on October 20, 1992, following previews from October 8, running for 390 performances until July 17, 1993. With music by John Kander, lyrics by Fred Ebb, and a book by Terrence McNally, this musical adapts Manuel Puig’s 1976 novel into a gripping tale of love and survival. Directed by Harold Prince, it starred Brent Carver as Molina, Anthony Crivello as Valentin, and Chita Rivera as Aurora/Spider Woman. After a troubled Toronto debut, its West End transfer won the 1993 Evening Standard Award for Best Musical, cementing its reputation as a daring, emotionally charged import that wove fantasy with stark reality.
The Creative Team Behind the Show
John Kander and Fred Ebb, the "Cabaret" duo, crafted a score blending tender ballads like "Dear One" with the ominous "Kiss of the Spider Woman," while Terrence McNally’s book layered Puig’s novel with theatrical depth. Harold Prince, a Broadway titan, directed with a stark vision, paired with Rob Marshall’s sensual choreography his first major credit. Brent Carver’s fragile Molina, Anthony Crivello’s fiery Valentin, and Chita Rivera’s magnetic Aurora led the cast, produced by Martin Richards and Lewis Allen. Hal Luftig’s team, with Jerome Minskoff’s sets and Florence Klotz’s costumes, conjured a prison cell and a silver-screen dreamscape, amplifying the show’s intensity.
A Prison Tale of Fantasy and Sacrifice
In an Argentine jail under a military regime, flamboyant window dresser Luis Molina shares a cell with Marxist revolutionary Valentin Arregui. To cope, Molina spins tales of Aurora, a B-movie goddess he worships except as the lethal Spider Woman. As guards torture Valentin, their bond deepens; Molina’s love grows amid songs like "Where You Are" and "You Could Never Shame Me." Facing death, Molina takes Valentin’s message to the resistance, dying in his place after a staged escape. The Spider Woman’s kiss claims him, lifting him into Aurora’s celluloid heaven a poignant fusion of despair, defiance, and cinematic escape.
Performance and Reception
Opening to critical acclaim, "Kiss of the Spider Woman" dazzled with its “mesmerizing” staging (The Times) and Rivera’s “incendiary” presence, running 390 shows stronger than its 1990 Toronto flop. The Guardian praised its “lacerating emotion,” though some found Act I slow. Carver and Crivello’s chemistry, honed on Broadway (1993 Tony wins for both), and Rivera’s iconic turn won the Evening Standard Award over "Crazy for You." Audiences embraced its intensity, with a cast recording capturing its power. Its West End success followed a 904-show Broadway run, proving its reworked grit resonated beyond initial stumbles.
Legacy in West End Theatre
"Kiss of the Spider Woman" carved a dark niche in West End history, its seven 1993 Tonys including Best Musical and London accolades signaling its impact. Unlike lighter fare like "Cats," its 390 performances showcased Kander and Ebb’s knack for weaving beauty with brutality, influencing later works like "The Scottsboro Boys." A 1996 UK tour with Adam Pascal and a 2009 Buenos Aires revival spread its reach, with the cast album a cult favorite. Staged globally Japan, Brazil, Spain it remains a West End standout, a haunting testament to theatre’s power to confront and transcend, spun from a cell into a spider’s web of art.