Action ... Lights: 'Spider-Man: Turns Off the Dark'

Arch rivals Green Goblin (Patrick Page) and Spider-Man (Reeve Carney) locked in combat in "Spider-Man: Turn Off the Dark." Photos by Jacob Cohl.

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.

Rewrites have clarified the story and in some cases oversimplified the plot. The pleasingly tangled web of mythology that places Arachne (T.V. Carpio) in a jealous wrangle with Mary Jane Watson (Jennifer Damiano) for Peter Parker’s (Reeve Carney) affections is no more. Gone, too, is the cutely named but annoying Geek Chorus – the four nerdy teens who ushered in the scenes. The story of “Spider-Man: Turn Off the Dark” now has to stand and fall on its own.

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)

Reeve Carney as the man himself in "Spider-Man: Turn Off the Dark."

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.

Spider-Man (Reeve Carney) has a tender moment with Mary Jane Watson (Jennifer Damiano) in "Spider-Man: Turn Off the Dark."

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.”

'Spider-Man Turn Off The Dark' Saga Continues

Spiderman to the rescue in a scene from the troubled production, "Spider-Man Turn Off The Dark."Photos by Jacob Cohl.

BY TAMARA BECK

COMIC book superheroes have their own mythologies. It is incumbent upon their fans to debate their genesis, mission and powers.

In the case of “Spider-Man Turn Off The Dark,” it has been up to Julie Taymor to finesse the tale.

“Spider-Man’s” flight on Broadway has been marked by terrible mishaps that have been reported far and wide. But the speculation and bad press have helped keep the house at the Foxwoods Theatre full through a long cycle of previews. As of this writing that cycle has been extended.

Just Wednesday (9 March), rumor was that the show’s much delayed opening night, expected to be 16 March, would be delayed yet again. As of Thursday (10 March), it turns out these rumors were true despite the assurance of the lovely lady at the Foxwoods box office. “We’re still selling tickets,” she said.

The usher at the Wednesday matinee, aware of the news reports, said resignedly, “I’ve gotten no official word about my job.” Opening night is now scheduled for 14 June, by the way. In the interim, all previews are cancelled. Ticket refunds and exchanges are available.

Media reports that there would be changes in the creative were also correct. Those changes extend to director and co-creator, JT, which is a real shame. Her vision, however muddled the story she and Glen Berger have cobbled together, is genuinely brilliant. Of course, she cannot be summarily dismissed, owing to issues of copyright. Phil McKinley is stepping in to take over day-to-day oversight of the production.

“Julie Taymor is not leaving the creative team. Her vision has been at the heart of this production since its inception and will continue to be so,” producers Michael Cohl and Jeremiah J. Harris are quoted as saying on the “Spider-Man” blog. “Julie's previous commitments mean that past March 15th, she cannot work the 24/7 necessary to make the changes in the production in order to be ready for our opening. We cannot exaggerate how technically difficult it is to make such changes to a show of this complexity … Phil is hugely experienced with productions of this scale …”

Sketch from “Spider-Man Turn Off The Dark,” which has gone dark until 14 June.

A word about the story in seven simplified panels:
1. The Geek Chorus, four nerdy teens, is recreating the account of the rise and fall of Peter Parker/Spider-Man (Matthew James Thomas). Miss Arrow (Alice Lee) – JT’s alter ego – introduces the legend;

2. Of Arachne (T.V. Carpio) whose excessive pride in her skills as a weaver have angered the goddess Athena. Nonetheless, Athena saves her from death but turns her into an original spider;

3. Peter is an inquisitive, intelligent teenager who is bullied by his classmates in love with his neighbor, Mary Jane Watson (America Olivo) understudying at this matinee;

4. On a field trip to a biotech lab run by Norman Osborn (Patrick Page), Peter is bitten by a spider and given spider powers. As he grows into Spider-man, Peter does much good. Conflicted by the demands that being a superhero make on his time, however, Peter relinquishes the powers;

5. In a related occurrence, Norman, in an attempt to remain ethical in a corrupt society, accidentally transforms himself into the villainous Green Goblin;

6. Angered by Peter’s ambivalence and eventual rejection of his spider powers, and his love for Mary Jane, Arachne revitalizes the foes Spider-Man has vanquished and plunges the world into chaos and darkness;

While director/co-creator Julie Taymor will not be involved in the day-to-day operations of "Spider-Man Turn Off The Dark," she will not be leaving the production, at least not officially.

7. It is up to Peter to resume his role as Spider-Man and bring back light to the world.

JT, also an award-winning costumer, designed the outlandish and beautiful masks for the gaggle of villains and super-villains that besiege the New York so splendidly created by scenic designer George Tsypin.

Daniel Ezralow’s choreography, both on solid ground and in the air, is flawlessly breathtaking. Of the earthbound dancing, “Bullying By Numbers” is a gem of acrobatic and balletic movement. The aerial weaving scene in “Behold and Wonder" is an ethereal wonder of choreography and effects. In fact, all of the aerial choreography is thrilling – most spectacularly so the overhead battle between Spider-Man and the Green Goblin. (See video at http://spidermanonbroadway.marvel.com/about#num=content-1074&id=album-9)

This reviewer hopes sincerely that the producers, in revising the production and expanding the new creative team, will not throw out the spidey with the bath water.

Visit http://spidermanonbroadway.marvel.com/ to learn more about “Spider-Man Turn Off The Dark,” including ticket refund/exchange information.