Kiss of the Spider Woman at NYU

The main thing that one comes away with from the NYU Steinhardt production of KISS OF THE SPIDER WOMAN is that there is a large group of talented young men who all have a career if they want it.  The female population of the “Program in Vocal Performance” must be a little miffed this semester, for the show only has three roles for women.  The rest of the cast, lead by two powerful singers, Jordan Stanley as Molina the window dresser jailed for “corrupting a minor” and Roy Richardson as Valentin the revolutionary, is all male and collectively amazing.  The choral singing alone gives goose-bumps, especially the spine-tingling rendition of “The Day After That,” a triumphant rally for hope.  Stanley plays the fey stereotype with plenty of dignity and beautiful singing.  His voice is immensely expressive and he rules the production.  Richardson is equally confident of voice, and although the role is less showy, he should match his costar with his own brand of bravado, but does not.  As the title character, Lauren Calhoun, is appropriately South American and exotic. Her voice can capably handle the low keys designed for the original Spider Woman, Chita Rivera, and also lighten up certain areas that bring a new loveliness to the score.  This Spider Woman is less of a dancer than Ms. Rivera’s, but Jennifer Werner’s very original choreography finds effective ways to move her around gracefully and the ensemble men manage some complicated moves with both power and grace on a stage cluttered with scaffolding and moving gates.  The clutter, dominated by a rotating raised platform at center, was designed by Michael Schweikardt and director John Simpkins has some difficulty working around it.  The center platform, however, makes a nice mini-stage to present what is really a very small play about two people from different worlds locked in a cell together.  How they get to know and appreciate each other is the heart of the story, but the Spider Woman and her dancing back up boys give the show it’s musical flash.  The show itself emerges as a kind of lost treasure.  The score by Kander and Ebb is lush and full of melody.  It does not sound anything like CABARET or CHICAGO and maintains its own special flavor, specific and appropriate to the subject matter.  There are stunning images, strong commentary on the cruelty of human beings towards one another, but counterbalanced with a search and discovery of the good will in men.  KISS OF THE SPIDER WOMAN is one of the great shows of the 1990s, it should be reexamined more often.  NYU took on the challenge with fantastic results.