Kiss of the Spider Woman is one of those rare musicals that doesn’t come around often – so when it does, it makes it even more unmissable.
From Kander and Ebb, the creators of Cabaret and Chicago, this unforgettable adaptation brings all the drama of Manuel Puig’s epic novel to life, set to an incredible score. Ahead of its opening at Curve, the production’s director Paul Foster gave his take on this spectacular show and revealed what it’s like to bring this exciting revival to the stage.
To be directing Kiss of the Spider Woman is, as Paul puts it, “a real dream.”
I started learning Spanish almost forty years ago and studied the original Manuel Puig novel. To be directing Kiss of the Spider Woman is a real dream. I feel very, very lucky – it’s not an opportunity that many people get to experience.
Paul sees this revival as more than a return of a celebrated musical, it’s a story that feels urgent and necessary now.
It feels like a story for now – although it’s been over 30 years since it’s been done at scale in this country, I believe we need stories like this at the moment. Stories that transport us, stories that give us hope, and stories that remind us that even when times look dark, we can still find light.
A story of contrasts
At its heart, the story of Kiss of the Spider Woman is about connection, something Paul returns to again and again.
It works on a lot of levels, this story – these two men that you might think are from opposing backgrounds, and with completely different opinions on the world, but gradually, step by step, little by little, they find common ground. It becomes a piece with a lot of tenderness, where once it started as a story with a lot of anger. It’s like a chemistry set – what was acid becomes alkali.
Paul describes the production as a rich contrast between two worlds; the confines of a prison cell and the vivid escapism of cinema.
Whilst we’ve got the claustrophobia of the cell, we’ve also got this incredible Technicolor routine… For the audience, it’s a real eye-popping show, a real visual feast.
A score that surprises
Music plays a central role in shaping that experience. For Paul, this score stands out even among Kander and Ebb’s celebrated work.
I’m not being paid to say this, but I think this is Kander and Ebb’s best score! It’s got boleros in it, it’s got samba in it, it’s got beautiful ballads, lush harmonic singing, songs of hope, songs that will get your feet tapping, songs that gladden your heart.
It’s a real rich variety… and I’m really looking forward to audiences experiencing that, because it’s an opportunity that doesn’t come along very often.
An intimate and unforgettable experience
What sets this production apart is its scale. Rather than a large, spectacle-driven revival, this version brings audiences closer into the story, both physically and emotionally.
When you look at the entirety of our cast – led by Fabian, George and Anna-Jane – they’re triple threats… they can dance, sing and act brilliantly.
We’re all committed to making this as hypnotic and as exciting as we possibly can.
Paul points to the intimacy of this production as what makes it distinctive, a chance to experience the story in a new way.
Some titles come along every week. But it’s been over 30 years since British audiences have had a look at this one.
To do it like we’re doing it in this close-up, intimate chamber way… I hope it will feel unforgettable.
You might also be interested in
Tim Minchin makes surprise visit to Southampton for Matilda The Musical
