It is not very difficult to be constructively critical of Tympanium Euphorium's finely directed and choreographed production of John Kander's and Fred Ebb's Kiss of the Spiderwoman, which features an array of talented students and an ambitiously focused production staff. It is a musical that simultaneously masquerades as a show about the struggles of a political prisoner holding to his beliefs and explores the narcotic and sociopolitical powers of art.Kiss of the Spiderwoman tells the story of Valentin (Andrew Giordano '08), who, due to his Marxist convictions, is jailed on suspicions that he is a terrorist and political insurgent. In prison, he meets Molina (David Klasko '07), a homosexual who changes Valentin's views on society and sexuality by encouraging him to hold fast to his dreams, rather than political ideology. The effect the prisoners have on each other drives the plot toward an exploration of escapism and realism, pondering whether idealism is a function of one or the other, if not both.

Director and choreographer Avital Asuleen '06 demonstrated tremendous sensitivity to each character's mannerisms. But her attention to the artier aspects of the musical-the costumes, lighting, set and elaborate dance numbers-at points outshined even the actors and their script.

Although capably and entertainingly executed by a chorus of prisoners, some of the show's dance sequences could have been removed at little harm to the production, if only for time's sake (the show runs two hours and 45 minutes.) The musical came together as a whole, however, because of Asuleen's ability to advantageously use the show's flashiness; its "narcotic" aspects functioned to fuel the show's exploration of escapism and art.

Kiss of the Spiderwoman was held together by a well-assembled cast. Klasko and Giordano had convincing rapport on stage, even in scenes of high emotional and sexual tensions. In the show, both are haunted by the Spiderwoman, a psychological construction played evocatively by Lauren Becker '08, whose kiss draws dead prisoners away from the world. Even the supporting cast-particularly the prison warden (Alex Martynov '08) and Molina's former prison lover (Eli Hannuna '08)-helped keep the show moving at a decent pace.

While Valentin's line, "You don't get this sort of thing in dialectical materialism," comically asserted that while the show might be a worthwhile escape from one's studies, this show still may not be for everyone.

When the musical ends with Molina's death, the audience is left with the uneasy feeling that we are irrevocably trapped in a world allowing for neither a full embrace of the arts nor the most noble of political beliefs. Marta (Jordan Butterfield '07), Valentin's girlfriend, represented this concept best, wearing a bright scarf depicting the American flag designed to remind the audience that there are political rumblings beyond the glitzy, narcotic-induced production.

Kiss of the Spiderwoman would be very alluring for those who enjoy progressive works that offer intellectual and aesthetic stimulation, but a risky venture for those seeking a distinctly happy ending.