Kiss of the Spider Woman at NYU

I don’t know exactly why, but I had made a point of never listening to the cast album of “Kiss of the Spider Woman” before attending John Simpkins’ most accomplished production of the Kander & Ebb musical on Monday night at the Steinhardt School for Education at NYU. Perhaps I was waiting for the opportunity to actually see it, fearing that the cast album might not make much sense out of context of the plot.

Waiting for Mr. Simpkins’ annual production – always of a serious post-Sondheim musical such as "Urinetown," "Floyd Collins," "Parade" or "Violet," has become one of favorite rites of the theater season. Two years ago, his "Floyd Collins" was stunning, and starred Jay Armstrong Johnson, who is now a swing in “Hair” who has gone on for Claude.

“Kiss of the Spider Woman” was no exception, featuring a large orchestra, a vocally exceptional cast, and superior production values. Jordan Stanley, a junior in the school’s program in vocal performance, was exceptional as the gay prisoner Molina, highlighting the character’s fragility and longing. Roy Richardson, a second year masters candidate in vocal performance, was far more subdued dramatically, but vocally outstanding as Valentin, a political prisoner who becomes Molina’s unexpected roommate. Lauren Calhoun, a senior in vocal performance, in spite of her youth, was sexy and imposing as the cinema goddess Aurora.

I can’t help but wonder what will be Simpkins’ next show next year. Just guessing, but I wouldn't be surprised if it's something along the lines of “The Wild Party” (either version is fine), “The Light in the Piazza,” “The Full Monty," "Bat Boy," or “Sunday in the Park with George.” But then again, maybe I’ll be surprised, just as I was with “Spider Woman.” Up next, Steinhardt will be doing several small-scale productions of “Hotel for Criminals,” “First Odd Prime” and “Quilters.” No word yet on its mainstage spring musicals.

Steinhardt should be commended for being the only theater program at NYU that tries to be involved with the New York theater community at large. The Tisch drama program makes absolutely no effort to advertise its productions to the public at large. Even when I attended NYU as an undergrad student, I felt as if Tisch wanted to deliberately exclude non-drama students from attending its shows.