Despite having musical-theatre pro Caroline O’Connor in the title role, and Ainsley Melham delivering a powerful, charismatic lead performance, this new production doesn’t quite conquer Kiss of the Spider Woman’s difficult assignment of literally merging escapist musical fantasy with very bleak, realist subject matter.

Winner of seven Tony Awards in 1993, including Best Musical, John Kander and Fred Ebb’s Kiss of the Spider Woman has had the respect but nothing like the love of their musicals Cabaret and Chicago (currently on another go-round of Australia). It shares these more popular shows’ musically driven fight against the darkness, but essentially never escapes the violent horrors of fascism and homophobia. That’s what gives the story based on Manuel Puig’s novel plenty of impact. It’s not the stuff of a big feel-good musical though, which is why this Melbourne Theatre Company outing is, I understand, the first fully staged professional production in this country.

Adam-Jon Fiorentino and Ainsley Melham. Photograph © Jeff Busby

Set in a South American fascist-state prison, it centres on two cell mates: gay window-dresser Molina (Melham), convicted of corrupting a minor after being set up; and Valentin (Adam-Jon Fiorentino), a revolutionary being tortured...