Boundaries are constantly blurring in “Kiss of the Spider Woman,” the revolutionary mid-’80s film that became a Kander and Ebb musical, and that cunningly (and stunningly) morphs back to the big screen, courtesy of “Dreamgirls” director Bill Condon. Confined mostly to an Argentine detention facility in 1983, at the height of the country’s Dirty War, the show is the flip side of Andrew Lloyd Webber’s “Evita,” focusing on the brutal military regime that followed Eva Péron’s ouster. Bleak as that may sound, the musical finds rare shards of light — and an unlikely connection — in the most despairing of places.
In every incarnation of Manuel Puig’s novel, cinema
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