Stage Review - Kiss of the Spider Woman (Lakewood Playhouse)

Stage Review - Kiss of the Spider Woman
Presented By: Lakewood Playhouse - Lakewood, WA
Show Run: September 05 - September 20, 2026
Date Reviewed: September 04, 2026 (Preview)
Run Time: 2 Hours, 30 Minutes (including a 10-minute intermission)
Reviewed by: Breanne Jensen

The musical “Kiss of the Spider Woman” is the unsung work of famous composers John Kander and Fred Ebb. Kander and Ebb’s prominent work, “Chicago” and “Cabaret”, have overshadowed this trailblazing story and it is highly likely that most have never heard of or seen a production as it’s beloved composition siblings, take the driver’s seat. However, the show was successful with three different runs, one of which was on Broadway in 1993, winning seven Tony awards! While I myself have a love and knowledge for musical theatre (clearly not enough!) history, and my two favorite shows just happen to be the ones I mentioned above, I shamefully never took the time to ingest this work of art until one special evening at the Lakewood Playhouse. I was invited to attend the Director’s final dress the evening prior to opening, as opening night was moved one day later, Saturday September 5th, 2026.

“Kiss of a Spider Woman” is the story of two cellmates in a Latin America prison cell who are polar opposites. Valentin, is a political revolutionist who is enduring torture at the hand of the warden and guards for exchange of information. Molina, an openly queer presenting prisoner who is serving time purely for punishment of their sexuality. Whilst sharing small quarters, the two disagree on everything and anything until finally, Valentin shows the smallest amount of interest in Molina’s stories which allows Molina to become less defensive and closed off. To pass the time, Molina acts, sings and narrates their favorite movies from growing up, starring their idol and movie star: Aurora. One motion picture in particular stood out to Molina, one where their beloved Aurora, played the spider woman, a scary role contrary to her typical genre. Throughout the show and storytelling executed by Molina, the audience begins to understand that the spider woman represents something much bigger to our characters and their fate.

Director Joe Walsh knocks it out of the stratosphere with the vision for this show. Lakewood Playhouse continues to amaze me with what they can do in their small, yet mighty, theatre in the round space. Walsh thinks of every single detail, from how the actors on stage feel and show up for one another, how the crew feels as part of the process, the subject material, down to the lobby décor/dressings (great idea to tie into the theme by Aleeza McCant for lobby dressings) and dont forget to also look at every painting in the lobby as these are absolutely stunning. Walsh wasn’t alone in this direction as his assistant director, Courtnee Ramos, also choreographed and starred in the production! Assistant directing and choreographing alone are incredible feats, but once you have seen the amount of work on stage she perfects and the energy she gives, you will be amazed to see everything she contributed behind the scenes as well. A successful show starts at the top and trickles all the way down until it becomes a whole, and this production was blessed with incredible partnership, creativity, teamwork and support and as an audience member you can feel that on stage.

The choreography (by Courtnee Ramos and assistant choreographer Grace Haeun Lee) is the best I have yet to see at LPH! Every dance piece (and there is a lot of them) was beautifully executed, clean, sharp, memorized beyond doubt, technically strong and the lifts and tricks were solid and safe. The best part? Seeing how much fun they all were having together dancing in the big production numbers! The scenic design/art, (Design by Aleeza McCant and art by Aleeza McCant/ Rob Carlos) are cold, dreary, dark and methodical. As you enter the theatre, there are bars you push open to enter the space, so you too feel imprisoned and part of their world. Two plank beds are used to create stages, steps, cell bunks and more with endless creativity. I really loved and enjoyed the use of the moveable screens allowing different scenes and characters to take place, shape locations and finish telling aspects of the story all through silhouette as well as a rope ladder, used safely and impressively (wonderful job to properties design, Becky Whitcher). The lighting for this production (Alonna Hall) has to be my personal favorite that I have yet to see at LPH. The energy, vibrancy, intentionality, shadow work, color in correlation with the professional caliber set this production over the top and helped tell the story in greater detail. The costuming (Aleeza McCant) flattered each performer with simple, elegant and effective choices. Each piece worn by the spider woman became more beautiful, vibrant, enticing and brought us into the magical movie moments, to quickly vanish back to the greys and tans of the mondain daily prison life. The vocals (led by Anya Guadamuz) of every single actor, whether a solo or lead of the show, had clear diction, gorgeous emotional impact and together they blended powerfully. The sound (designed by Brookelyne Peterson) amplified these voices in harmony of vocal and technical aspects (the gun shots were never startling and well timed out).

This incredible cast truly is an ensemble, a pilar of strength within and for one another. The subject material provided isn’t easy in volume, technicality or realities and this cast, understood the weight of the story being told and created a safe space for the audience.

Each actor has a stand out moment: Brad Alemao shines in his connection to the emotion of each song/dance leaving the audience yearning for nothing more as he gives it all in each and every movement and moment on stage. Brandon Cantu, never drops character as the guard and balances out a great pair with his guard coworker, Isaiah Myers, whose voice and heart show through even when playing a “bad guy”. Darryin Cunningham gives one of my favorite moments in the show when in an abrupt shift in mood, lights come up and he begins to sing “there are big-busted women over the wall” delivering a brief moment of relief, joy and incredible comedic timing! Lucas Lucero and Ron Manson are solid as the prisoners whilst giving robust vocals. Ty Halton, easily executes the slimy and manipulative warden and does a great job at playing what will likely become your least favorite character.

The women in Valentin and Molina’s lives, Marta (Avery Tecca-Tapia) and Mother (Alma Villegas), sing and look equally as beautiful (their setting being up in the audience was such a great way to use the space). War revolutionist, Valentin, is brought to life through heart by Sergio Antonio Garcia, whose vocals are stunningly beautiful and evocative. Garcia brings strength, gentility and grit to every ounce of the performance, delivers a solid partnership with/for his costar and incorporates authenticity within culture.  Leading lady (spider woman) Courtnee Ramos, beams with talent, power and soul. Ramos’ acting, vocals, dancing, emotion, character, costumes and performance as a whole solidify her as a triple threat to be reconned with.  I only hope that the cast gets audiences that adores them the way we all did watching them.

Lastly, but certainly not least, is Molina, masterfully perfected by Adrian Roberto. Roberto is naturally effortless when it comes to their talent. Vocally professional and polished, acting impeccable, portrayal immaculate, and the unconditional love for others that radiates out of them is palpable. Roberto represents and dedicates this performance to the LGBTQIA+ community and youth and I feel that if more queer youth were introduced to the story of “Kiss of a Spider Woman” maybe it could help our queer and bipoc youth/creatives know they are loved, supported and never alone. A large thank you and congratulations to all that helped create such an impactful and important piece of art.

“Kiss of a Spider Woman” is a story chosen during LPH’s heroic  themed season. During the first act of the show, I wasn’t sure exactly how this material tied into the season’s “theme” so to speak, but as I watched act two, I realized there are so many heroes/ heroic moments in this story. Molina’s mother sings a song in which she sings, “You could never shame me, there, I've told you so many things confuse me but this I know. Let the neighbor’s gossip at the mention of your name you have never brought me shame.” Molina isn’t a predator, a deviant, a monster, a freak, they are a beautiful unaccepted queer bipoc person who is true to themselves, finds beauty in the ugly, light in the dark and just like us- finds comfort in the escape of stories. Molina is a hero to their mother, to Valentin and to themselves and if every unaccepted and judged person found a type of love and understanding that Molina’s mother and Valentin found for Molina, then maybe we could save more lives and bring a bit more love into the world.

“Kiss of a Spider Woman” is a heroic tale of hope in a lost world, love in a way that is limitless and freedom from physical, emotional, spiritual and judgmental imprisonment. From the creative team, unshakable cast, immense talent, stellar design and the overwhelming feeling of community, I think this has to be my favorite show I’ve seen at Lakewood Playhouse to date. While LPH may be losing their heroic leader soon, this production is proof that with the belief in them, the people at this theatre are their own heroes. Like Molina, the love they have for one another, will continue to grow and create art that is fearless. Please go give your time to this incredible hardworking group!

Kiss of the Spider Woman runs on stage at Lakewood Playhouse through September 20. For more information, including ticket availability and sales, visit https://www.lakewoodplayhouse.org/.

Photo credit: Ashley Roy Simpson