BY TAMARA BECK
AFTER six months of tryouts and rewrites, “Spider-Man: Turn Off the Dark,” turned on the lights a week ago today at a much anticipated and delayed opening night that brought out big Broadway and big Hollywood names.

It’s a lot safer in the Foxwoods Theatre since “Spider-Man: Turn Off the Dark” was revamped by Roberto Aguirre-Sacasa (co-book writer) along with Glen Berger, (an original co-book writer), and director Philip Wm. McKinley who was brought in as a consultant. Though Julie Taymor was forced out, she is still listed as director and co-book writer. Chase Brock came aboard to enhance Daniel Ezralow’s already breathtaking choreography.
(See a video at http://www.spidermanonbroadway.marvel.com/about#num=content-1074&id=album-9)
Several dance sequences left over from the original are the ethereal aerial weaving scene, “Behold and Wonder,” which features Arachne&Co. swinging on a loom, as well as the lively “Bullying By the Numbers.”
Also remaining are aerial adventures, including the very satisfying fight scene between the Green Goblin and Spider-Man, and wonderful scenery from JT’s original exciting but muddled vision of the play. “Spider-Man: Turn Off the Dark” has been tamed and toned down.
In the musical, Peter Parker acquires his spider powers slowly after he is bitten by a genetically altered spider in Norman Osborn’s (Patrick Page) lab. “Bouncing Off The Walls,” not only describes Peter’s transition to spider super powers, but is also an ode to teen hormones. Norman becomes arch-villain The Green Goblin immediately with a few mis-turns of the dial and a short spin in a gene blender of a machine.
PP’s Green Goblin is a compelling rival for RC’s indecisive and slightly bland Spider-Man. In fact, PP enlivens the production with his utterly delightful, outsized and cartoonish wickedness.
Mythologizing is what superhero comic book fantasies do. “Spider-Man: Turn Off the Dark,” however, is timid in its myth-making, with a circus-tent feel that will please the kids and fans of the Spider-Man comics, if no one else.
To be clear, “Spider-Man: Turn Off the Dark,” which is big news because of the creative team changes and the exorbitant cost of the drawn-out production, is definitely fun. It just isn’t big news as a Broadway musical.
Visit http://www.spidermanonbroadway.marvel.com/ to learn more about “Spider-Man: Turn Off the Dark.”
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