Go... and see vision come to life!
There we go, that's out of the way. Onto the show.
Kiss of the Spider Woman takes place in a 1970s Latin American prison in the shared cell of prisoners Molina and Valentin. Molina, a flamboyant, openly gay window dresser, was arrested for having sex with a minor, and Valentin is a hardened Marxist revolutionary with conspiracy plans. Over time, the two unexpectedly become close friends, and (SPOILER) when faced with a life-or-death decision, Molina ultimately chooses to sacrifice himself rather than betray Valentin. The show won the Tony for Best Musical in 1993 and was critically revered for its intelligence and progressivism. As time goes by and the culture at large becomes more and more accepting of homosexuality, the show risks the possibility of losing a bit of punch. When the show first premiered, it may have seemed more shocking to mainstream audiences that an effeminate gay man would do something as "manly" as give up his life in such a manner, and the climax slightly leans on that idea. It is still a relevant problem, and the show is written intelligently enough that even if one day we are free of homophobia, the show can be incredibly effective under the foundation of a solid, grounded relationship between leads. Garney Johnson's direction tells that story beautifully, and a moving show is the result.
When entering the theater, you notice the innovative and professional set design. There is a movable jail cell that starts on the right side of the stage, which is complemented by a large movie screen above the left side of the stage. The sound is also well-designed. Too often in local shows the music is far too quiet behind the stage and you don't feel like, as a viewer, you are part of the experience. Here, the music is not only played beautifully but seems to come from all sides at an appropriate volume - the experience is reminiscent of being in a movie theater. The actors use body microphones, and their volume is well-matched to the music, which should happen more often in local theater. Lighting is generally dark and drab to accentuate the melancholy events, but brightens up when necessary to highlight the fantasy scenes.
The show effectively opens and closes with film-style credits. The movie screen is used regularly throughout the show to enhance Molina's frequent fantasy sequences, and is best utilized when playing very well-shot and edited cinematic clips of the film star Aurora - and when Molina is fantasizing about being in Aurora's place. The sporadically-used animated graphics, e.g. the spiderwebs and morphine hallucinations, came off as cheesy and gratuitous compared to the far more effective film scenes. The Theater Stud would have preferred the production to forego superfluous dancing graphics and actually use the movie screen for cinematic images more frequently throughout the show. The film sequences really were brilliantly executed and left me wishing there were far more of them.
The actors are well-directed, and there are genuine relationships formed between all of the characters. Jeffrey Seyller as Molina is the standout of the production, in a role that seems tailor-made for him. Seyller has a lovely, smooth singing voice and embodies Molina with clear, honest emotions, giving the character several authentic moments of pathos. He also plays up Molina's flamboyancy well without resorting to a mincing stereotype - we are given a fully-developed, multidimensional character. Rico Robinson proves a worthy foil as Valentin, and, aside from a few strained high notes, sounds perhaps the best I have ever heard him sound. His acting offers a strong counterpoint to Seyller, and the arc of their relationship feels real, which is vital to the success of the show. The Theater Stud only wishes Robinson's accent would have been a bit more consistent.
Karla Robinson as Aurora/Spider Woman has a well-trained voice put to good use throughout the show. Her Aurora is more "beautiful, elegantly tenured queen of the screen" than "fiery seductress" but it works, especially when complemented by the beautiful film footage. Angelica Yankauskas as Valentin's love, Marta, and Toni Zito as Molina's mother both perform their roles admirably with strong vocals and well-acted relationships that successfully further the respective arcs of their leading men's stories. The ensemble is strong both collectively and individually - they are beautifully blended as a team (hats off to music director Roy George) and the score offers several opportunities for solos, many of which are quite impressive. The vocals of Geoffrey Klein in "Over the Wall" are of particular note, as is his brief turn in "Gabriel's Letter" as Molina's unrequited former love.
Shon M. Stacy's choreography does a great job of highlighting two well-trained dancers in the cast (AJ Palacio and Llangston Redford), while allowing the rest of the ensemble to have their moments as well. I don't recall the last time I saw modern dance utilized in a show and it was a welcome change of pace to highlight the fantastical nature of the musical numbers.
Final Thoughts: Kiss of the Spider Woman is a powerful show that is expertly produced with high energy at the Little Hall under the Chrysler. The seats down there are painfully uncomfortable, so prepare accordingly. The Theater Stud would also recommend sitting in either the front row or in the risers - the seats in the second and third rows have obstructed views due to being on the same level as the seats in front of them. My view was obstructed to the point that I couldn't see the titular kiss from Aurora, largely because it was strangely staged behind the ensemble, near the stage-right exit. Once you pick a good seat and make yourself comfortable, sit back and enjoy. It's well worth it.
-Jonathan McCormick
Performances run thru June 28th
Thursday – Saturday at 8 p.m. and Sunday at 2:30 p.m.
at the Generic Theater
215 St. Paul's Boulevard, Norfolk, Virginia
(under Chrysler Hall – access through lower level of parking lot)
Tickets are $18 with discounts for students, seniors and military.
Reservations can be obtained by calling the box office at (757) 441-2160
or online at http://www.generictheater.org
