Kiss of the Spider Woman

 

7^th April 2026

Curve, Leicester

 

‘Good times are coming our way […]

Viva la revolucion!’

 

It is perhaps no surprise that few have tried to mount new productions of Kander and Ebb’s Kiss of the Spider Woman. A musical adaptation of Manuel Puig’s 1976 postmodern labyrinthine novel covering themes of sexuality, gender, politics and state torture – all cut through the lens of Hollywood fantasy – is a tough sell. Yet, done right, it is a richly rewarding venture, juxtaposing glamour and grime, frivolity and fascism, all bound by an unlikely love story that is both intimate and expansive. Paul Foster’s production (the first major revival since premiering in the early 90’s) is a modest affair, small in scale, but offering a new angle on the narrative that uses the intimacy of Curve’s studio space to emphasise the claustrophobic setting of the Argentinian prison cell.

Political prisoner Valentin (George Blagden) is thrown in a cell with the whimsical Molina (Fabian Soto Pacheco), who is in the middle of serving a sentence for ‘corrupting a minor’. In pairing these disparate characters, the warden hopes that Molina will convince Valentin to give up his secrets and reveal the plans of his revolutionary comrades. Initially antagonistic, the duo slowly bond through shared suffering (beatings, poisonings, sleep deprivation), small acts of kindness, and Molina’s retelling of the films of his glamourous movie-star heroine, Aurora (Anna-Jane Casey).

While by no means Kander and Ebb’s most memorable score, there is a pleasant mix of latin-infused up-tempo numbers (‘Where You Are’, ‘Let’s Make Love’), tender ballads (‘Dear One’, ‘You Could Never Shame Me’), and rousing crescendos (‘Day After That’). Terrence McNally’s book does a commendable job of condensing Puig’s novel, and while some things suffer slightly in translation – for example the ambiguous, dream-like ending created by Puig is some of the most achingly beautiful prose; not to mention the intertextuality offered by Puig’s extensive use of footnotes on everything from Freud, to Marxism, and gender identity – McNally and co’s creation of a central figure (Aurora/The Spider Woman) to encompass all of Molina’s hopes, fears, desires and memories is ingenious. This personification makes up for the loss of the majority of the movie narratives from the source material. Instead, we have dazzling song and dance numbers from Aurora which offer glittering commentary on real-life scenarios. A particular highlight features Molina and Valentin playing supporting roles in Aurora’s film Flame of St. Petersburg, which slickly foreshadows the show’s denouement.

David Woodward makes the most of Curve’s small studio space with a two-tier set of scaffold, cell bars and metal grating, evoking the brutal, grey reality of prison life under fascist regime. This allows Andrzej Goulding’s video projections to shine, transporting us to another world through flickering reels, movie title cards and intense close ups of Aurora’s face. As I mentioned previously, Foster has made the most of this small scale production to highlight the intimacies of the text. As such, the central performances are faultless, and being up close and personal allows the audience to see every nuanced motion. Anna-Jane Casey proves herself again to be a triple-threat juggernaut, belting out note perfect numbers while performing high-energy routines without breaking a sweat. Casey relishes her dual role, hamming it up as the melodramatic Aurora in her many starring roles, while transforming into a genuinely creepy presence as the titular Spider Woman, the personification of death itself. George Blagden’s Valentin is strong and grounded, masculine without being overbearing, and his soaring tenor voice lends itself perfectly to the chill-inducing call-to-arms, ‘Day After That’. Rounding off the central trio, Fabian Soto Pacheco gives a star-making turn as the tragic Molina. Pacheco uses his whole being in bringing Luis to life; every placed hand and every arched eyebrow giving us an insight into the character. He is flamboyant, sympathetic, at times frustrating, and utterly memorable. The main cast are supported by a small yet flawless ensemble, who all get their moment to impress. In short, Foster’s production is well worth a visit for the indefatigable performances alone, which are on a par with some of the best I’ve seen.

Kiss of the Spider Woman is an extraordinary tale in all its variations and while I can see it may not be to everyone’s taste, at heart it is a tale about love and hope in its many forms. Familial love, romantic love, sexual love, patriotic love, radical love, artistic love. The narrative is dark and brutal, yet during the finale, when Molina sings of ‘optimistic endings’ this is only ironic on a superficial level. What the audience has just witnessed is definitely not ‘optimistic’, yet Puig and McNally’s message is one of hope, no matter how small the glimmer – where there is love, where there is passion, there is hope. The very act of changing, as our protagonists do over the course of the show, is in itself an act of hope, in spite of, or maybe because of our hero’s final sacrificial act. This chamber piece production is somewhat of a hidden gem, which thoroughly deserves a wider audience.

 

Kiss of the Spider Woman plays at Curve, Leicester until 25^th April before playing at the Bristol Old Vic from 29^th April – 16^th May, and the Southampton MAST Mayflower Studios from 2^nd – 6^th June.

Fabian Soto Pacheco, Anna-Jane Casey and George Blagden
in Kiss of the Spider Woman
Credit: Marc Brenner

 

Curve, Leicester

Tuesday 24^th March, 2026

 

‘Thank you for the music’

 

There’s no denying that the world is in a strange place at the moment; multiple wars, controversial political leaders, and a cost-of-living crisis like none seen before. Watching international events unfold can make it seem as though there is little to be joyful about at present. So now, more than ever, we need a little escapism. And Mamma Mia! is just the slice of cheesy sunshine to counter the doom and gloom of daily life. The show bursts with energy, laughter and stonking great music; it’s the epitome of feel-good.

Surrounded by the rustic idyll of a small Greek island, young Sophie hatches a plan to reunite her mother with the three men that may or may not be her father in time for her wedding. Friendship, romance, family bonds and second chances are explored and celebrated in delightfully pop-tastic style, while maintaining a very British sense of humour. The ABBA jukebox musical is over 25 years old now, and feels fresh yet timeless thanks to its simple storytelling and unpretentious production. Catherine Johnson’s book and Phyllida Lloyd’s direction let the relationships between characters lead the plot, fostering infectious camaraderie (who wouldn’t want to be friends with Donna and co?) and erring just on the right side of sentimentality. Amid all this, Benny Andersson and Björn Ulvaeus’ songs shine. Every number is a certified banger and the music has been carefully curated to fit the action, whether in heartfelt earnestness (‘Slipping Through My Fingers’), sucker-punching accuracy (‘The Winner Takes It All’) or tongue-in-cheek glee (‘Chiquitita’).

The simplicity of the story and production also lets the cast shine as they jive their way through party-like ensemble numbers such as ‘Voulez-Vous’ and the post-curtain Mega-Mix, while also allowing each individual character their moment in the spotlight. Jenn Griffin makes for a naturalistic and unassuming Donna, who’s down-to-earth nature occasionally gives way to full on power-belting diva mode. Rosie Glossop and Sarah Earnshaw provide fine comedic support as Donna’s loyal friends Rosie and Tanya, and the latter’s cougarish rendition of ‘Does Your Mother Know?’ is a real highlight. The younger cast also impress, in particular Lydia Hunt excels at imbuing Sophie with a strong will and youthful sass.

I’m struggling to think of other shows that are filled with as much unadulterated fun; Lloyd, Johnson, Andersson and Ulvaeus have created a gleefully giddy bop of a musical. The atmosphere was electric, the audience ecstatic and united in their jubilant reaction, and this current tour demonstrates why the show continues to be a sure-fire hit across the world. 25 years on from its premier, Mamma Mia! exemplifies the old adage, ‘if it ain’t broke…’, audiences know exactly what to expect when booking tickets, and for a bit of much-needed comfort viewing that is no bad thing at all. For a dose of bottled-joy and a tonic to everything else going on in the world right now you really can’t get any better.

 

Mamma Mia! plays at Curve until 29^th March 2026.

For full tour details please visit: MAMMA MIA! International Tour | The Global Smash Hit

Sarah Earnshaw, Jenn Griffin and Rosie Glossop in Mamma Mia!
Credit: Brinkhoff/Mögenburg

Inside American Pie

 3^rd March, 2026

Curve, Leicester

“Still getting together in rooms like these”

Somewhere at the back of my mind was the bit of music trivia that Don McLean’s 1971 global hit ‘American Pie’ is about the plane crash that killed Buddy Holly in 1959. But, even with the very singable chorus, I hadn’t properly considered the lyrics to any of the song and its six verses. Luckily, that’s where a small theatre company from Prince Edward Island on the east coast of Canada comes in. Mike Ross and Sarah Wilson of Harmony House, based in a community with a population of about 400, have devised the enchanting Inside American Pie, part-concert, part-documentary which provides a deep-dive into the lyrics, the man behind them, and the musical sensibilities of the era. Borne out of the pandemic, the show has become a hit in Canada where’s it’s played several successful summer runs in P.E.I. and also in Toronto. Thankfully, it was here that the artistic team at Curve spotted it and, with the help of Mirvish Productions, it’s now making its European premiere in Leicester.

Co-Creator Mike Ross, playing an upright piano, sings the first verse of the song before (teasingly) taking a step back to tell us the story of the horrific plane crash that inspired it (also killed were The Big Bopper and Ritchie Valens). With the initial inspiration now within our knowledge, we hear those lyrics again, this time spoke line by line, and their meaning becomes clear. Ross occasionally goes back to magnify his focus on certain words or lines. His unshowy, matter-of-fact delivery is part of the charm, leaving the emotion of McLean’s words do the talking. We hear Wiki-style bits of history behind the lyrics of lines such as “I can't remember if I cried/ When I read about his widowed bride” referring to Holly’s pregnant widow (who turns 94 this year). But, more interestingly, we hear Ross’ interpretation of more opaque phrases. Is McLean’s teenage chronic bronchitis behind the spoonerism ‘broncin’ buck’? Could the line actually be ‘drinkin’ whiskey in Rye’ referring to a place in New York? Might a reference to Lenin actually be referring to John Lennon? These digressions lend a greater depth to the song’s intrigue and is a reminder that music is subjective.

Peppered through the show are carefully selected songs from that era. Some like the opener ‘Come On, Let’s Go’ by Valens and a later number ‘Sympathy for the Devil’ by The Rolling Stones help to tell the story, placing us in a specific time and place. But others are more evocative of mood, helping to paint a picture of changing social movements and musical tastes. ‘Imagine’, beautifully sung Brielle Ansems and arranged by Ross, is a good example of this. Bob Dylan’s ‘The Times They are A-Changin’’ speaks to a wider theme of change. ‘American Pie’, more than just about a plane crash and the effect that had on McLean as a teenager, is about nostalgia and change. It represents a shift from the innocent 1950s to darker times. The way Ross and Wilson build that picture thematically and musically through fairly prosaic storytelling and using just one song as a jumping off point is impressive.

The show is musically exhilarating. A cast of five singer-musicians including Ross, Ansems, Alicia Toner, Greg Gale and Kirk White bring the songs to life. It has the electric feel of a music gig but has a cunning theatricality. At one point, Ross puts on some glasses and, with his blue jacket, I couldn’t help but picture Buddy Holly. This is probably unintentional, but speaks to a bigger effect of Inside American Pie in that it subtly evokes such images and reflections whilst you’re sat there having a great time. And a great time you’ll surely have!

Inside American Pie plays at Curve, Leicester until 14^th March. For more information, please visit https://www.curveonline.co.uk/whats-on/shows/inside-american-pie/

Mike Ross in Inside American Pie. Credit: Dahlia Katz

Legally Blonde

 12^th February 2026

Curve, Leicester

“Keep it positive!”

Let me begin by saying I love Legally Blonde. It’s fluffy and feel-good. Yes, it has been dismissed as bubblegum feminism, but the message it sends out to women and girls is commendable; celebrating supportive female relationships and the importance of staying true to yourself. And everyone loves a good courtroom drama, right? I have watched the film more times than I’d care to admit… so when it came to seeing Nikolai Foster’s latest production of Laurence O’Keefe, Neil Benjamin and Heather Hach’s 2007 musical I admit that I was predisposed to enjoy it. And having seen Curve’s previous production of Legally Blonde nearly exactly 10 years ago, I’m pleased to say that this latest venture proves just how much the company has grown as a producing theatre under the direction of Foster and Chief Executive, Chris Stafford. The show is as slick as any in the West End, and the technical and design aspects are at an all-time high.

 

The pre-show playlist features several songs from the recent Barbie movie, setting the tone for the evening. The theme bleeds into many of the design elements, with Colin Richmond’s set incorporating cute miniature buildings of the Delta Nu sorority house, the hallowed halls of Harvard Law School, and even the trashy caravan inhabited by Paulette’s ex, Dewy. The doll’s house aesthetic perfectly fits the pristine world in which we first encounter Elle, with more substantial sets slowly inhabiting the stage as our heroine begins to ground herself in more real, ‘serious’ realms. The Barbie influence is a natural stroke of genius, with even the neon show curtain feeling reminiscent of the classic toy logo. Similarly, Tom Rogers’s costumes are colourful and glam adult-size versions of the dress-up outfits we all enjoyed playing with as children.

 

Exuberant performances, and energetic choreography perfectly matches the effervescent production design. The ensemble is extremely hard-working and display true triple-threat talent, especially the female cast members. Amber Davies is an extremely likable Elle with a nicely understated comic touch that ensures the character feels contemporary and never strays into caricature territory. She is backed up by solid supporting performances from the likes of George Crawford’s bookish Emmett and a scene-stealing Karen Mavundukure as the kind-hearted but down-trodden salon owner, Paulette. Mavundukure’s rendition of ‘Ireland’ is both funny and touching, bringing a depth to the character that has perhaps been overlooked previously.

 

The more-than-game audience lapped up the humour, the camp, and the sass on display, with the second half especially gaining a rapturous response. ‘There, Right There’ being a particular highlight in which the whole ensemble shine. I’ve also come to the conclusion that there really is nothing an audience likes more than seeing a dog (or two) on stage – guaranteed ‘oohs’ and ‘ahhs’! Sprout (Bruiser Woods) and Milo (Birthday boy, Rufus) earned every penny of their appearance fee!

 

It’s heartwarming to spend an evening enveloped in the fluffy, girly world of Elle Woods and I came out of Legally Blonde humming the songs and feeling slightly better about the world. As a piece of good-natured, poppy musical theatre it’s nigh on impossible to dislike, and with the current scheduling a perfect Galentine’s treat!

 

Legally Blonde plays at Curve until 21^st February before touring the UK and Ireland.

For more information and full tour dates please visit: Tour Information - Legally Blonde

 

Amber Davies as Elle Woods in Legally Blonde. Credit Marc Brenner