KISS OF THE SPIDER WOMAN Music by John Kander, Lyrics by Fred Ebb Book by Terrence McNally November 11 - December 5 2004 The November 11 performance will be a benefit for the TAG Scholarship Fund. No performance on Thanksgiving. Call 341-2757 for tickets

Pictured: Todd Brooks, Eduardo Millan, and Echelle Childers

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Review: 'Kiss of the Spiderwoman' weaves intriguing tale

TOM MCMAHON, Staff Writer Daily Nonpareil

The Spiderwoman's kiss is the kiss of death, but her kiss in Snap Production's "The Kiss of the Spiderwoman" signifies victory. And the performances of the main characters make this production a victory worth celebrating.

At the top of the gold medal stand is Todd Brooks, whose acting and singing effectively convey the growth of Molina, from debased homosexual prisoner to courageous friend and lover. "She's A Woman" is a heart-wrenching ballad about Molina's desire to be a different gender and Brooks' rendition is powerful. His nonverbal fussing with his silk robe and scarves adorning his cell conveys as much as the words he speaks. It is an award-winning performance.

Molina is in a South American prison, convicted of having sex with a minor. His cell mate, Valentin, is a political prisoner, involved in the underground resistance. He is straight, proud and strong and warns his flamboyant cell mate to "not cross the line" - an imaginary line separating their bunks, but symbolically a deeper line of protection against differences.

Eduardo Millan's strong voice and early emotional coldness creates a tension against Brook's swishing mannerisms and self-effacing humor. The relationship grows into, from Molina's perspective, love. For Valentin, the audience can argue his motivation for having sex with his cell mate on Molina's last night in jail. Does he truly love him or is it, as Valentin's "Anything for Him" hints at, that he can use Molina to get a message to his female lover outside the walls?

Overlaid on top of the relationship issue is the Spiderwoman, a movie character that invades the thoughts and emotions of Molina, and later, Valentin. Aurora, an actress who Molina worships, and who plays Spiderwoman in one of her movies, is hauntingly played by Echelle Childers. While a few songs stretched her range, Childers' stage presence and dark beauty more than made up for the few strained musical moments.

The intimate Shelterbelt Theater gave Childers an opportunity to work her magic on the audience and she took full advantage of it, stepping up to the front row and piercing the eyes of audience members.

While the close setting worked well for acting and singing - not a line was missed -- it hampered some of the choreography. While the prisoners did a fine job of conveying the spirit of the dance numbers, the close quarters did not allow them to fully get into it. At times, dancers had to be careful not to bump into each other.

A strong supporting performance was turned in by Mary Carrick as Molina's mother. Her rendition of "You Could Never Shame Me" was a mother's loving testimony to her son's goodness and a strong statement that kindness, and not sexual orientation, is the truer moral value.

Al Di Mauro was powerful as the prison warden, fluctuating between a steely cruelty and manipulative kindness. His attempt to get Molina to rat on Valentin to help break the resistance, is at the heart of the Tony award-winning play by Terrence McNally. Molina's ultimate triumph is the choice he makes, a choice that leads to his encounter with the Spiderwoman.

Bridget Weise's strong vocals made Marta, Valentin's lover, believable. Her duets with Childers created some of the musicals most memorable harmonies.

The prisoners provided effective vocals and helped convey the harshness of prison and also the background for Molina's fantasies about Aurora. Those movie "clips" are Molina's survival tactic and one he invites his cell mate to share. They provided a welcome respite to the plays darker themes. The audience needs to escape, too.

Whether one interprets Valentin's sexual encounter with Molina as true love or as an attempt to use him, there is no doubt the relationship grows. Valentin's initial contempt for the gay man gradually gives way to an understanding that his admonitions to Molina to "be a man" are fully realized.

The musical score by John Kander and Fred Ebb, while not especially memorable, is consistently good and entertaining. Musicians Rod Carlson on keyboards and Travis Kilpatrick, percussion, are strong but not overpowering and their music adds a strong element to the play's tone.

"Kiss of the Spiderwoman" runs through Dec. 5. Reservations can be made by calling (402) 341-2757.