The Great Escapism
"Kiss of the Spider Woman" at The Scottsdale Center for the Arts
**** (out of *****)
Mark S.P. Turvin
(w) 965-1021  (h) 894-5443
I can be reached for comment via e-mail at: mspt@asu.edu

	Some novels have become hit movies and some hit musicals, but 
it's rare when a novel becomes a hit movie and then a hit musical. 
At the outset, the novel "Kiss of the Spider Woman" doesn't seem 
to be the ideal source material for a hit musical. This searing 
novel centers on the relationship between two cell mates in a 
Latin American prison; one has been sentenced for being a radical 
Marxist, the other for being homosexual. It is gritty, oppressive, 
and dreary. 
	The two throughlines follow the choices of those who are 
oppressed and become political, and those who are oppressed and 
become apolitical. The quiet, intense Valentin, arrested for his 
involvement with the radical underground, is routinely tortured 
for the names of his associates, and sustains himself with the 
memories of his love, Marta. The talkative and flamboyant Molina, 
arrested for soliciting an underage boy, is treated worse than an 
animal and sustains himself with the memories of the movies of his 
childhood, especially those of a Latin American film star by the 
name of Aurora. The two opposites square off against each other at 
first, but soon develop a tender relationship. 
	At first glance, there is little that lends itself to the 
development of a musical. Add to the equation, though, a Pulitzer 
Prize-winning playwright, Terrence McNally, and the highly 
political musical team of Kander and Ebb, and the result is a 
beautiful musical about love, respect, and imagination. Leave it 
to Kander and Ebb to do the impossible, as they did with the 
graphic and intense novel "I am a Camera," which became the duos 
famed Cabaret.
	This touring production of "Kiss of the Spider Woman," 
directed by Clayton Phillips based on the original staging by 
Harold Prince, retains most of the glamour and grittiness of the 
original Broadway production, and on nights when Argentinean 
musical sensation Sandra Guida is in the cast, may in every way 
equal the original. Unfortunately, during the Sunday matinee, 
understudy Elizabeth Ormond performed the role, and while having 
the dancing abilities required for the pivotal role, lacked the 
vocal power and presence necessary to firmly establish the 
character's sensual and sinister qualities. 
	The power of the production, though, rests on the impressive 
performances of Ross Stoner as Valentin, and especially Brian 
Barefoot as Molina. While the chemistry between the two actors at 
times was not perfect, the power and intensity with which these 
two actors attacked their roles made up for any lapses in 
communication. Mr. Stoner made the gradual revelations of Valentin 
completely believable. Mr. Barefoot's portrayal of the flighty, 
decidedly apolitical Molina captured the intertwined pathos and 
nobility, allowing the audience to feel intense sympathy for a 
character whose attitudes and mores are not necessarily easy to 
identify with or reconcile. 
	The supporting cast, with the slight exception of Stephen 
John Kaiser's ruthless Warden, glowed. Mary Ann Pietro-Hannon's 
portrayal of Molina's mother was lovingly intense, especially 
during the lovely song "You Could Never Shame Me." Colleen Ryan, 
playing Valentin's love, Marta, did well with her small role.  
Also, the entire cast performs Vincent Paterson's choreography 
wonderfully. 
	This is one of the few Kander and Ebb musicals where there 
was no specific 'hit' the likes of the songs "Cabaret," "Money" or 
"All That Jazz." This musical seems to be inspired by the current 
'wall of music' musicals like Phantom or Les Mis. Musical Director 
R.L. Rowsey directs the decidedly Latin-flavored music well. 
Jerome Sirlin's scenic design and projections and Howell Binkley 
and Peter West's lighting add a wonderful combination of hard-edge 
and fluid, juxtaposing jail bars with Technicolor and black and 
white projections and dancing colored lights for the many fantasy 
sequences. 
	This is not an easy show to perform, or even to sit through. 
There are many difficult subjects and horrific occurrences that 
make this an intense piece. Kander and Ebb are not known for 
pulling any punches in their musicals, and this show continues 
that trend. For those who are not easily offended or militant in 
the belief that entertainment needs to have pretty, neatly-wrapped 
happy ending, the power and majesty of the show will have you 
crying and cheering at the end like the matinee crowd. 

Production Details:
"Kiss of the Spider Woman" by Terrence McNally, John Kander & Fred 
Ebb
The Scottsdale Center for the Arts, Scottsdale
994-2787
May 17th-May 21st, 1997

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Kiss of the Spider Woman-Scottsdale Center for the Arts-5/17/97	© Goldfish Publishers