Kiss Of The Spider Woman: The Musical (1994 Broadway Cast)

Kiss Of The Spider Woman: The Musical (1994 Broadway Cast)

Kiss Of The Spider Woman: The Musical (1994 Broadway Cast)
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CD Details

Edition: Music CD
Audio: German (Unknown); German (Published)
Format: Cast Recording
CD Release Date: 1995-03-07
Music Label: Polygram Records
Soundtracks:
  1. Prologue
  2. Scene: The Prison Cell
  3. Her Name Is Aurora
  4. Scene: The Prison Cell (2)
  5. Over The Wall I
  6. And The Moon Grows Dimmer
  7. Bluebloods
  8. Dressing Them Up
  9. I Draw The Line
  10. Scene: The Prison Cell (3)
  11. Dear One
  12. Over The Wall II
  13. Scene: The Prison Cell (4)
  14. Where You Are
  15. Marta
  16. I Do Miracles
  17. Gabriel's Letter/My First Woman
  18. Morphine Tango
  19. You Could Never Shame Me
  20. A Visit
  21. She's A Woman
  22. Gimme Love
  23. Russian Movie/Good Times
  24. The Day After That
  25. Mama, It's Me
  26. Anything For Him
  27. Kiss Of The Spider Woman
  28. Lucky Molina/Over The Wall
  29. Scene: The Warden's Office
  30. Only In The Movies

Music reviews of Kiss Of The Spider Woman: The Musical (1994 Broadway Cast)

Music Review: Terrible
Rating: 2 Stars

After reading Manuel Puig's novel, "Kiss of the Spider Woman," I approached this musical with great enthusiasm, while at the same time resolved not to let previous expectations ruin the experience. After all, I love musicals, and I love the novel. And still, I cannot get around it -- "Kiss of the Spider Woman: The Musical" is terrible.

Beginning with the campy, synthesized panflute and electric piano undermining a brutal torture with background music that sounds like something from a children's show, I knew something was amiss. But I remained open-minded.

However, as one song after another rolled along, I grew more and more skeptical. I waited ever-so-patiently for a number that actually had something to do with the central narrative -- the relationship between Valentin and Molina. Only one, very brief song ("I Draw The Line") depicts their relationship. Nearly every song is given to the imaginary character of Aurora or an ensemble of prisoners, neither of which have any importance in the scheme of things. Singing generic lyrics on generic themes, they diverge from the story rather than advance it: "Gimme love" for example, tells us nothing new about the characters or the story, and could honestly appear in any campy cabaret. Even songs that spring out of Molina and Valentin's situation are handed over to Aurora and the ensemble, who then proceed run away with the themes until they are completely removed from the emotions that these two men feel.

You may thinking that Aurora is important to the theme of fantasy and the imaginary that runs throughout the story. While it is true that the films that Molina tells are a significant part of the story, they overshadow the characters when they are able to traverse the confines of their narrative via the device of Aurora, who was invented for this musical (apparently she is the "spider woman", despite the fact that in the title of the novel is a reference to Molina). One of the key elements in making Puig's novel work was the fact that the films were all told in Molina's voice; here the films are given all the voice, while Molina is silenced.

The rest of the songs focus on the lives that Molina and Valentin led before their imprisonment. That's perfectly relevant, but these songs are almost never related to the current events at hand, and lack a conversational nature needed to develop the relationship between the two leads. None of these songs display any reaction from the other man. "Gabriel's Letter/ my First Woman" combines the backstories of the two, but has them form independently of each other, with no influence from one to the other. This is simply bad drama.

With no attention given to the relationship between Valentin and Molina, it's no wonder that the musical has Valentin pretending to have affection for Molina in order to acheive his own goals -- a complete insult to the novel, which features a genuine love shared by the two men.

The musical ends with a light-hearted excersise in camp underscoring (undermining) the death of the hero, Molina. "Kiss of the Spider Woman" was a heartfelt novel...this is an excersise in camp and dettatchment. I consider myself generous for giving it two stars.
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Description of Kiss Of The Spider Woman: The Musical (1994 Broadway Cast)

Kiss Of The Spider Woman

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