GALA's 'Spider Woman' spins a knockout

From left, Rodrigo Pedreira is Valentin and Martin Ruiz is Molina in GALA's Kiss of the Spider Woman/by Daniel Martinez

Spiders can entrap, they can protect, they are patient, and they wait to entrap their snares.

That GALA Hispanic Theatre has brought back its 1994 Kiss of the Spider Woman when its co-founder, Hugh Medrano (1943-2023) earned a Helen Hayes Award for Lead Actor, the first for a Spanish performance in D.C., is no surprise for success realized then certainly means success today.

And outstanding acting by Rodrigo Pedreira and Martin Ruiz, two prisoners who share an Argentine cell in the 1970s, prove it with the 1976 novel by Manuel Puig of the  same title brought to life.

With haunting original music and sound (by Koki Lortkipanidze), Valentin has been imprisoned for revolutionary practices and protests against Argentine’s political regime while Molina is in jail for child abuse.

Their togetherness in the solitary cell creates recognition of common goals and fears while their warming embrace of differences broadens their perspectives and outlooks.

Adding more stress to his dilemma is Molina's desire for Valentin and the undercover spy operation conducted by the government, effectively presented by phone calls and eerie directions echoing in the chamber to Molina, unheard by Valentin.

The setting (by Tony Cisek) is naturally stark and gray - it's a concrete cell, after all -  the environment intensified by Hailey LaRoe's lighting.

At GALA, theatregoers can see this version of Kiss of the Spider Woman in person, in advance of next month's movie premiere with Jennifer Lopez and Diego Luna.

On two screens at either end of the stage GALA presents its version in Spanish with English surtitles.

Jose Luis Arellano directs with assistance from Luz Nicolas. 

Other production team members are Cidney Forkpah, costumes; Tessa Grippaudo, properties; Anson Stevie, technicals; Ilyana Rose-Davila, production manager; Andre Hopfer, makeup and hair; David Peralto, vocals; and Brian Martinez, stage manager.

On September 21, join a talk-back session with Jesse Garcia, public relations manager at Amazon, and Jose Gutierrez, psychologist, both active in human rights and LGBTQ associations.

Through September 26, enjoy Friday night socials in the lobby at Afters at GALA with Latina musicians and karaoke.

What: Kiss of the Spider Woman

When: Thursday through Saturday nights at 8 p.m.; Sunday matinees at 2 p.m. Now through Sept. 28, 2025.

Where: GALA Theatre, 3333 14th St NW, Washington, DC 20010.

Tickets: Start at $25 with discounts available.

Duration: About two hours with a ten-minute intermission.

Ages: For 14 and up, adult themes.

Handicapped accessibility: GALA has four wheelchair accessible spaces and an elevator from the entrance to the lobby and the house.

Metro stations: Columbia Heights is one block from GALA on the Green and Yellow lines. Or, get off Metro at McPherson Square, take a bus up 14th, or, walk two miles from McPherson Square and save money and expend calories! Many places to eat along the way.

Parking: Discounted parking for $4 at Giant's garage around the corner on Park Road with ticket validation in GALA's lobby, and more parking on the street and at the Target's garage also on Park Road NW, between 14th and 16th streets NW.

For more information: Call (202) 234-7174 and/or email info@galatheatre.org

patricialesli@gmail.com

'Evita' cries for Argentina (extended) at the Olney

Rachel Zampelli is Eva and Nick Duckart is her husband, Juan Perón, in Olney Theatre Center's Evita/Photo by Stan Barouh

Who was "Evita" and why should we care?

What a difference Eva Perón (1919-1952) made to Argentina where she was first lady (1946-1952), the second wife of President Juan Perón, and widely known as a champion of women's rights, the working classes, the "shirtless ones," and the poor for whom she worked sometimes 22 hours a day until near the end of her life.

She was despised by the military and bourgeoisie who resented her efforts on behalf of society's segments which excluded them.

 Robert Ariza is Che with the cast of Olney Theatre Center's Evita/Photo by Stan Barouh.

When Eva Perón decided to run for the vice-presidency the year before she died, social and health constraints forced her to reconsider, and, instead, the Argentine Congress declared her "Spiritual Leader of the Nation," the same year she died of cancer at age 33.
  
Now offering a glimpse of her life, loves, and dynamics, Olney Theatre Center presents Andrew Lloyd Webber's and Tim Rice's Evita which won seven Tonys in 1980 after it opened on Broadway.

The musical is one more chance to hear the signature piece "Don't Cry for Me Argentina," beautifully sung by Olney's Evita, Rachel Zampelli.

Although the audience longs to hear "Don't Cry" one more time, it's an unrequited desire, yet the melody, in true Lloyd Webber style, hovers throughout the show from beginning to end.

A minimalist presentation characterizes the play, and the real star is not "Evita" but "Che" (Robert Ariza) the narrator who monopolizes the stage. It is no surprise that Ariza claims Broadway and Helen Hayes awards. His muscular, strong performance, under director Will Davis' tutelage, is daunting.
 
 The show's choreographer is Tony nominee and Helen Hayes award winner Christopher d'Amboise who keeps his well-trained and experienced ensemble busy in multiple numbers, often as backdrop.

Ivania Stack dresses the laborers in realistic and monochromatic garb of the era, which sharply contrasts with Evita's flair and flash, and helps transmit the message that Evita was persona nonpareil, and it's true:  Eva Perón and her husband (here, in a supporting role, admirably acted by Nick Duckart) did address two million persons from a balcony in Buenos Aires in 1951, and a year later, three million came for her funeral.

Under the direction of Christopher Youstra, the seven members of the orchestra play in their usual grand manner, masterfully on stage right, but this time, a better location in the pit might have improved the experience since the juxtaposed musicians and actors seem to share little passion between themselves.

Well designed lighting (by Colin K. Bills) helps shift scene variations from a single, great hall anchored by long arched windows which frame outside visuals (Arnulfo Maldonado).

Other cast and crew Evita members are:  Lane Elms, sound, Josiane M. Lemieux, production stage manager, Dennis A. Blackledge, direction of production, Megan Adrielle, Ronald Bruce, Nick Lehan, Kristin Yancy, Mark Chandler, Jamie Eacker, Nurney, Jonathan Atkinson, Willie Dee, Ashleigh King, Maria Rizzo, Jane Zogbi.

Commemorations on the anniversary of Eva Perón's death (July 26) have almost turned the day into a national holiday. Eva Perón was then and now considered saintly, and some compare her to Jesus Christ.

Her legacy is heralded by proud Argentines, including the country's first female elected president (2007-2015), Cristina Fernández de Kirchner.

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

When:  Wednesday through Saturday extended through July 31, 2016 at 8 p.m., with Saturday and Sunday matinees at 2 p.m. and a July 13 Wednesday matinee at 2 p.m. 

How much: Tickets start at $38, with discounts for military, groups, seniors, and students.

Duration: About two hours plus one intermission.

Refreshments: Available for purchase and may be taken to seats.

Parking: Abundant, free, and on-site

Special performances and events:

Audio described performance for the blind and visually impaired, presented by Metropolitan Washington Ear, Wednesday, July 13, at 8 p.m.

Post-show discussion after the 2 p.m. Saturday performance on July 16, 2016  

For more information: 301-924-3400
 
patricialesli@gmail.com