Spiderman the Stage Play

Spiderman the Broadway Show Merchandise

Spiderman Turn off the Dark merchandising - at their Spiderman Broadway Store

Spiderman Show original director suing producers

May 2012: Original Director Julie Taymor is claiming that the Spiderman - Turn Off the Dark show is still essentially the original concept that she originated, and despite her employment on the show being severed by the producers of the play, she is owed royalties.

Spiderman Turn off the Dark

"The first time I saw the show, it was like watching the Hindenburg burn and crash..."

JUNE 14, 2011

Ben Brantly theater review at the New York Times takes on the revamped Spiderman Broadway show: "...this singing comic book is no longer the ungodly, indecipherable mess it was in February. It’s just a bore."

And more: "...“Spider-Man” now bears only a scant resemblance to the muddled fever dream that was. It is instead not unlike one of those perky, tongue-in-cheek genre-spoof musicals (“Dames at Sea,” “Little Shop of Horrors”) that used to sprout like mushrooms in Greenwich Village, with witty cutout scenery and dialogue bristling with arch quotation marks."

The complete Ben Brantly New York Times review

Spiderman the Stage Play

Spiderman show gets major overhaul: director Taymor out

Spiderman Turn off the Dark

March 11, 2011: The Broadway show is characterized by critics as something akin to a car-wreck, but it's been making money. After s a string of cast injuries and the negative critical buzz floating over their heads, the producers of the show are scheduling a shutdown for a few weeks to rebuild the extravaganza with a new director and some new tunes from the "U2" songsmiths Bono and The Edge.

New York Times leads the story with "How would you fix Spiderman?"

"With the announcement that Julie Taymor is stepping aside as the director of “Spider-Man: Turn Off the Dark,” Broadway is buzzing about what changes are ahead for the $65 million show.

On Wednesday, the producers announced plans to overhaul the production over the next three months, including shutting down the show for two to three weeks in midspring."

[Below: the official website visit it here.]Spiderman Turn Dark Off

Spiderman on Broadway "Broken Beyond Repair"

Spiderman Turn the Dark Play

Feb 9, 2011: Wall Street Journal on the $65 million USD play:

“[S]ince this show was looking as if it might settle into being an unending work in progress — with Ms. Taymor playing Michelangelo to her notion of a Sistine Chapel on Broadway — my editors and I decided I might as well check out ‘Spider-Man’ around Monday, the night it was supposed to have opened before its latest postponement,” theater critic Ben Brantley wrote in the New York Times. He went on to write that the musical was “so grievously broken in every respect that it is beyond repair.”

And even more bad news:

–”Directed by Julie Taymor, who wrote the show’s book with Glen Berger, and featuring songs by U2’s Bono and the Edge, ‘Spider-Man’ is not only the most expensive musical ever to hit Broadway; it may also rank among the worst.” [Ben Brantley, New York Times]

–”But mostly, Spider-Man is chaotic, dull and a little silly. And there’s nothing here half as catchy as the 1967 ABC cartoon theme tune.” [David Rooney, The Hollywood Reporter]

–”But in any Taymor spectacle, the performances are almost beside the point: It’s all about creating magic and transporting the viewer. Here, as impressive as the flying is, the wires are all too visible. They’re meant to make the characters soar, but they keep the audience tethered to the ground.” [Elisabeth Vincentelli, New York Post]

–”Well, it turns out there is a valid reason the producers of “Spider-Man: Turn Off the Dark” have been keeping critics at bay. Julie Taymor’s $65-million, accident-prone production, featuring an erratic score by U2’s Bono and The Edge, is a teetering colossus that can’t find its bearings as a circus spectacle or as a rock musical.’ [Charles McNulty, Los Angeles Times]

–”For without a book with consistent rules that a mainstream audience can follow and track, without characters in whom one can invest emotionally, without a sense of the empowering optimism that should come from time spent in the presence of a good, kind man who can walk up buildings and save our lousy world from evil, it is all just clatter and chatter. Delayed openings, physical changes, fresh flying sequences, the toil of dedicated performers and even new musical numbers from U2’s Bono and The Edge, no less, cannot fix what should have been solved long before any human performer left the safety of the ground.” {Chris Jones, Chicago Tribune]

December 1, 2011: Equipment malfunctions leaving the star dangling above the stage was probably the worst of the sudden halts that struck the opening day of "Spiderman Turn Off The Dark" (aka Spiderman on Broadway), the $65 million USD stage production going on at the Foxwoods Theatre (tickets range $50 to $150) in New York City. Marvel Comics has a subdomain site promoting the show which has music by U2 rock band singer/songwriters Bone and The Edge. Patrick Healy at the New York Times has a review of the show:

"The fourth and final pause at the end of Act I was the worst glitch of the night by far. Spider-Man had just flown and landed onstage with the musical’s heroine, Mary Jane Watson (played by Jennifer Damiano), in his arms. He was then supposed to zoom off toward the balcony seating area, a few hundred feet away. Instead, a harness and cables lifted Spider-Man several yards up and over the audience, then stopped. A production stage manager, C. Randall White, called for a halt to the show over the sound system, apparently in hopes of fixing and re-doing the stunt.

Crew members, standing on the stage, spent 45 seconds trying to grab Spider-Man by the foot, as the audience laughed and oohed. When they finally caught him, Mr. White announced intermission, and the house lights came on.

The intermission began at 8:19 p.m.; it was still under way 34 minutes later when some in the audience began to clap in unison, as they passed their two-hour mark inside the theater. Mr. White, the production stage manager, then said over the microphone, “I know, guys, I know, I beg your patience,” and the clapping stopped. "

Spiderman on Broadway

Spiderman Links

Lynda Carter