Every now and then, something happens at the theater—a line of dialogue, an image, a bit of stage business—that makes you think, “What I’m seeing here reminds me of . . . .” Fill in the blank. While watching Signature Theatre’s affecting production of Kiss of the Spider Woman, I became mesmerized by the silhouette of a prisoner with a bucket on his head. He had been tortured—offstage, thankfully.

The setting, according to the program, is “a prison in Latin America sometime in the recent past.” A repressive regime has imprisoned Molina, a très gay window dresser obsessed with a movie actress named Aurora, and Valentin, a muy macho Marxist who reluctantly admits that his girlfriend is a member in good standing of the bourgeoisie—she even drives a Mercedes. As cellmates, they have much to learn about each other and about a love that requires patience and sacrifice.

Heavy stuff, but in the able hands of composer John Kander, lyricist Fred Ebb, and playwright Terrence McNally—who adapted Manuel Puig’s novel—what enfolds is a thought-provoking and entertaining evening of pathos, sensitivity, and even a few laughs. These three men are the true stars of the evening.

Director Eric Schaeffer understands theatricality, the effects of visual images. Either that or he knows whom to hire. Adam Koch’s scenic design and Chris Lee’s lighting are inspired. Jon Kalbfleisch’s orchestra, one of the most consistently good in town, does justice to the music. Karma Camp, in her best choreography to date, has actors adding to the drama with fast-paced, muscular dancing. The only truly Latin element is provided by Natascia Diaz, a terrific singer/dancer/actor as Aurora/Spider Woman. Her impersonations of movie stars such as Marlene Dietrich are clever and funny. Hunter Foster’s take on Molina is a bit too camp, and Will Chase’s revolutionary is more sullen than angry.

Through Kander and Ebb’s genius, steadily guided by Schaeffer, the power of humanity amid inhumanity shines through.