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Musical

"Plow Off the Dark" redirects hither. For the 1997 album past Howie B, see Turn the Nighttime Off.

Spider-Man: Turn Off the Nighttime
Spider-Man musical.jpg

Promotional affiche
Music
  • Bono
  • The Edge
Lyrics
  • Bono
  • The Edge
Book
  • Julie Taymor
  • Glen Berger
  • Roberto Aguirre-Sacasa
Footing

Spider-Human
by

  • Stan Lee
  • Steve Ditko
Premiere June 14, 2011: Foxwoods Theatre, New York City
Productions 2010 Broadway

Spider-Man: Turn Off the Dark is a musical with music and lyrics by Bono and The Border and a book past Julie Taymor, Glen Berger, and Roberto Aguirre-Sacasa. Based on the Marvel Comics graphic symbol Spider-Human, the story incorporates elements of the 2002 film Spider-Man, the 2004 film Spider-Man ii and the Greek myth of Arachne. It tells Spider-Man's origin story, his romance with Mary Jane Watson, and his battles with the Green Goblin. It includes highly technical stunts, such as aerial gainsay scenes and actors swinging from "webs."[1]

The Broadway production was notorious for its many troubles. Several actors were injured performing stunts and the opening dark was repeatedly delayed, causing some critics to review the "unfinished" production in protest.[two] Following negative reviews, Spider-Man: Turn Off the Dark suspended performances for a calendar month to retool the bear witness. Longtime Spider-Man comics writer Roberto Aguirre-Sacasa was brought in to revise the story and book. Director Julie Taymor, whose vision had driven the concept of the musical, was replaced past creative consultant Philip William McKinley. Past the time Spider-Human: Plough Off the Night officially opened on June 14, 2011,[three] it had set the record for the longest preview flow in Broadway history, with 182 performances.[four] [five] [6]

Critical reception of the opening was amend than for the previews, only mixed, with praise for the visual effects but piffling enthusiasm for the book and score. Spider-Man: Plough Off the Dark is the most expensive Broadway production in history, with a upkeep of $75 million. In the week ending January i, 2012, it held the box office record for Broadway sales in one calendar week, taking in $two.941 million over nine performances,[7] until it was beaten by Wicked at the end of the year, with $ii.947 million.[eight] The production closed on January 4, 2014,[9] at a massive financial loss.[10]

Description [edit]

Bono (left) and The Edge (correct)

Although frequently described equally a rock musical, the product "treads new ground" that some commentators take asserted "take effectively distanced it from its peers—and caused some confusion when it comes fourth dimension to depict the show."[11] The Edge stated that he is unsure of what description to employ for the production, because "It is elements of rock and coil, information technology'southward elements of circus, it's elements of opera, [and] of musical theater."[11] Bono, admitting that his description is a lilliputian "pretentious," has referred to it as "pop-up, pop-art opera," noting that Julie Taymor is calling it a "rock-and-roll circus drama."[11] [12] He also described the product every bit "wrestling with the same stuff" equally "Rilke, Blake, Wings of Want, Roy Lichtenstein, [and] the Ramones."[13] A hour CBS special stated that it is being called a "comic volume rock opera circus," although in that segment Bono noted that even using "stone" to depict the music is too narrow a description, considering "We've moved out of the rock and roll idiom in places into some very new territory for us ... [including] big show tunes and dance songs."[xiv]

The production was described early every bit "the most technically complex evidence always on Broadway, with 27 aerial sequences of characters flying" and engaging in aerial combat.[one] The production also includes a "multitude of moving set pieces that put the audience in the eye of the action," and enough projections onto giant screens that Bono has said that it is like a three-dimensional graphic novel.[xi] The original story treated the origins of Spider-Human being similarly to the story in the 2002 motion-picture show, but wove in an involved story about a villain based on the mythological Arachne. A "geek chorus" of four teenagers narrated the story. In the rewritten version, the plot hews closer to the comic book and film and trims and transforms the office of Arachne into a "kindred spirit in Spider-Human's dreams".[xv]

Broadway production [edit]

Spider-Man: Turn Off the Nighttime had no out-of-town tryouts because of the technical requirements of the production, which were designed for the Foxwoods Theatre on Broadway.[xvi] The musical began previews at that theatre on November 28, 2010. Subsequently many delays, the official opening gala night took identify on June 14, 2011.[5] [3] [17]

The creative team originally included director Taymor and choreographer Daniel Ezralow, with scenic pattern by George Tsypin, costume design by Eiko Ishioka and lighting pattern by Donald Holder.[xviii] [19] [20] An "expanded creative team", appear on March nine, 2011, includes Philip William McKinley, joining the production every bit "consultant" (when Taymor left the production). It as well includes the improver of Chase Brock for additional choreography and Roberto Aguirre-Sacasa for boosted writing.[21] [22] Taymor retained her original credits in Spider-Man.

The opening night cast featured Reeve Carney every bit Peter Parker/Spider-Man, Jennifer Damiano as Mary Jane Watson, Patrick Page every bit Norman Osborn/Greenish Goblin, T. Five. Carpio as Arachne, Michael Mulheren as J. Jonah Jameson, Ken Marks as Uncle Ben, Isabel Keating as Aunt May, Jeb Brown as Mary Jane'due south Male parent, Matt Caplan equally school bully Flash Thompson, and Laura Beth Wells as Osborn'due south married woman Emily.[23] [24] Due to the physical demands of the office, Carney performed in vi of the eight performances each week. The original alternating was British role player Matthew James Thomas, who left the bear witness in November 2012 to star in Pippin.[25] [26]

On November 19, 2013, producers appear that the show would close on January iv, 2014, citing falling ticket sales[27] and no longer being able to get injury insurance for the production as reasons for closure.[28] Having run on Broadway for over iii years, the production failed to make back its $75 one thousand thousand cost,[29] the largest in Broadway history, with investors reportedly losing $60 million.[30]

Canceled Las Vegas, National Tour and future productions [edit]

When announcing the show's closure on Broadway, information technology was announced the testify would transfer to Las Vegas.[31] The bear witness's producer Michael Cohl said of the transfer, "Nosotros'll work on improving everything, It could be anything. Information technology's a blank piece of paper. [27]

In 2012, the musical's producers confirmed that they were scouting theatres in Europe, after The New York Mail reported that they were considering productions in arenas in London and Hamburg.[32]

On July 25, 2014, Cohl announced that the musical would fix out on an arena tour in place of the previous announced production in Las Vegas and would launch in belatedly 2015 or winter of 2016,[33] only no such tour has since happened. Despite the show planned for the Vegas tour, Michael Cohl was quoted as proverb: "Regarding the future of the "Spider-Man" musical property, Las Vegas was never a done bargain; it'due south simply a market that nosotros were exploring — among other possibilities — and nonetheless are."

Plot [edit]

Act I [edit]

At Midtown Loftier School in Queens, New York, local teenager Peter Parker gives a book report about Arachne, Goddess of the Weavers ("The Myth of Arachne"). As Peter gives his report, Arachne descends to the stage and tells the audience her story ("Behold and Wonder"). After grade ends, Peter's ex-all-time friend Flash Thompson and his gang gleefully torment the straight A pupil ("Bullying by Numbers"). Peter has a crush on his pop next door neighbor Mary Jane Watson, just they both have unhappy lives ("No More than"). Peter has lived with Uncle Ben and Aunt May ever since his parents Richard and Mary Parker died in a plane crash when he was a baby.

A few days later, Peter and his classmates continue a field trip to the genetics laboratory of scientist Norman Osborn and his married woman Emily, who explicate what they hope to reach with their genetic inquiry ("D.I.Y. Earth"). While Peter takes pictures of the lab for the school newspaper, the Osborns lock down the lab every bit a dangerous genetically altered spider has escaped. While the students and scientists panic, the spider lowers itself onto Peter's shoulder and bites him ("Venom").

Peter soon becomes enlightened that, as a result of the spider's bite, he has spider-like powers along with a muscular physique, twenty/20 vision and the ability to emit web strings from his wrists. He uses his powers at school to defeat Wink and his friends in a fistfight ("Bouncing Off the Walls"). Later on seeing Flash give Mary Jane a ride, Peter decides to buy a car to print her. He enters a wrestling tournament and wins the grand prize of $i,000. Peter returns habitation only to learn that Uncle Ben has been shot by a carjacker. Arachne, who has been watching over Peter, encourages him to utilize his gift to defend the innocent from evil ("Rising To a higher place"). Peter vows to avenge Uncle Ben's death by using his powers to save the earth and notes that "with great ability comes cracking responsibility".

Peter makes a costume and takes on the persona of "Spider-Homo" ("NY Debut"). The Daily Bugle begins to publish manufactures near Spider-Human while Peter is hired past editor-in-chief J. Jonah Jameson as a freelance photojournalist. Meanwhile, Norman Osborn begins thinking that Spider-Man stole his inquiry as the military organization Viper Worldwide presses him to accelerate his projection ("Pull the Trigger"). Norman contemplates the dilemma with Emily while Peter shares his first romantic moment with Mary Jane ("Picture This"). Norman decides to experiment on himself, causing an electrical surge that results in Emily's accidental expiry. Norman goes insane and mutates into the "Green Goblin".

Act II [edit]

The Dark-green Goblin comes up with a programme to genetically alter other humans every bit he did himself ("A Freak Like Me Needs Company"). Through his experiments on his former employees, he creates six villains: Carnage, Electro, Kraven the Hunter, Cadger, Swarm, and Swiss Miss. That night, Mary Jane tells Peter that her dearest for him has grown and he admits that the feeling is common ("If the World Should Cease"). The Goblin and his new alliance of criminals go along a rampage through New York ("Sinistereo"). Spider-Man quickly defeats the Sinister Six as the citizens of New York cheer him on ("Spider-Man!"), unaware that the Goblin has managed to escape. The Goblin arrives at the headquarters of the Daily Bugle and tells Jameson to print his plans of dominating the earth through genetic mutation. The Goblin also tells Jameson that he gave Spider-Human being life, making Jameson believe Spider-Man is in league with the Goblin. That night, Arachne comes to Peter in a vision and explains that she is his guardian, along with the reminder that being a hero is his inescapable destiny ("Turn Off the Dark").

Peter wants to spend more than time with Mary Jane after missing the opening night of her play and considers taking time off from fighting crime. Upset over Peter's constant excuses, Mary Jane suggests they accept a break from their relationship ("I Just Tin can't Walk Abroad (Say It Now)"). Peter gives his costume to J. Jonah Jameson, telling him that Spider-Human being has quit. He takes Mary Jane to a night club and impulsively proposes to her. While at that place, the Greenish Goblin intercepts the city'southward TV signals and sends a message to Spider-Man threatening his loved ones. Peter takes Mary Jane to his flat and breaks off their relationship for good so that his enemies won't target her. After telling Mary Jane that he will e'er love her, Peter takes a walk and realizes that he needs to be a hero not but for Mary Jane only for the world ("The Boy Falls From the Sky"). Spider-Man recovers his costume from the Daily Bugle and goes later the Green Goblin.

The Green Goblin sits at a piano at the top of the Chrysler Building and boasts to the audience of his program to destroy New York City ("I'll Take Manhattan"). Spider-Man arrives and engages the Goblin in combat, but before he can cease him, the Goblin reveals that he has Mary Jane, who now dangles from the Chrysler Building. As they battle, Spider-Man webs the Green Goblin to his piano. The Green Goblin, not realizing this, thrusts the piano over the side of the Chrysler Building, taking him downward to his death. Later Spider-Man saves Mary Jane, she tells him not to leave and reveals that she has guessed who he is. Peter removes his mask and they cover. The two contemplate their new life together before sirens begin wailing and Spider-Human swings away ("Finale: A New Dawn").

Musical numbers [edit]

Principal casts [edit]

Role(s) Original Cast
Opening Night: June 14, 2011 		Last Cast
Closing Nighttime: January 4, 2014
Peter Parker/Spider-Man Reeve Carney Justin Matthew Sargent
Mary Jane Watson Jennifer Damiano Rebecca Faulkenberry
Arachne T. 5. Carpio Christina DeCicco
Norman Osborn/Green Goblin Patrick Page Robert Cuccioli
J. Jonah Jameson Michael Mulheren
Uncle Ben / Buttons / Others Ken Marks
Aunt May / Mrs. Gribrock / Maxie Isabel Keating
Wink Thompson / Bud / Others
Peter Parker/Spider-Man u/s 		Matt Caplan Jake Odmark
Alternate for Peter Parker/Spider-Human Matthew James Thomas Jason Gotay
Emily Osborn / Marbles / Others Laura Beth Wells
MJ's Begetter / Stokes / Others
Norman Osborn/Light-green Goblin u/s 		Jeb Brown Timothy Warmen
Boyle / Robertson / Others Dwayne Clark
Kong / Travis / Others Luther Creek Aaron Lavigne

Broadway cast replacements [edit]

  • Arachne: Katrina Lenk[34]
  • Norman Osborn/Dark-green Goblin: Robert Cuccioli[35]
  • Alternate for Peter Parker/Spider-Homo: Jake Epstein[36]
  • Arachne understudies: America Olivo[ commendation needed ]

History [edit]

Early evolution [edit]

According to the New York Post, Bono began composing Spider-Human afterward Andrew Lloyd Webber joked, "I'd similar to give thanks rock musicians for leaving me alone for 25 years – I've had the theater all to myself"; Bono and Taymor "decided to give Andrew a trivial competition".[23]

In August 2002, Marvel announced that Tony Adams would produce a stage musical based on the Spider-Man comics.[37] Adams approached Bono and the Edge to exist involved with the project; in plough, they enlisted Taymor to directly.[38] In Oct 2005, Adams suffered a stroke while the artistic team was assembled to sign contracts; he died two days later.[37] Patrick Healy in The New York Times described their situation:

Others might have abandoned the project, but the Spider-Human being team decided to go on, with Mr. Adams's partner, David Garfinkle, as lead producer. An able entertainment lawyer, Mr. Garfinkle had little producing experience, and he ceded creative decisions to Ms. Taymor, a perfectionist whose aesthetic included never repeating herself. Mr. Garfinkle did non have the tack that Disney had while working with Ms. Taymor on their hit musical, The King of beasts King: her genius flourishes best under supervision.[39]

Delays and budget overruns [edit]

Readings of the musical were held beginning in 2007,[40] merely the product was delayed several times.[41] By early 2009, the Broadway production ran $25 million into debt, the New York Post reported, and work on it was suspended. The upkeep for the project was reported in March 2009 to be a record-setting $52 one thousand thousand.[23] [42] On Baronial 31, 2009, The Walt Disney Visitor appear plans to buy Curiosity Comics. Despite the previous Broadway success of their Disney Theatrical Productions subsidiary, Disney made no movement to assume control of Spider-Man, or help the production financially.[43] In late 2009, Bono asked Michael Cohl to stride in as producer, and by May 2010 Cohl had raised the money to proceed with the projection, much of information technology from Jeremiah J. Harris, former Chairman of Live Nation, who is also listed equally a producer.[44] Meanwhile, the musical was somewhen scheduled to open at the Foxwoods Theatre on Feb xviii, 2010, but the product was delayed again until fundraising could be completed.[45]

By November 2010, the production was estimated to cost $65 million.[44] In improver, the show'southward unusually high running costs were reported to be about $i meg per week.[46] A new opening dark of December 21, 2010 was scheduled, but this was delayed until January 2011, reportedly due to "a tremendous amount of creative commotion behind the scenes" equally more time for rehearsals was needed.[47] In Dec 2010, the official opening was over again pushed back, to February 2011, "to provide more than time for the creators to stage a new final number, make further rewrites to the dialogue and consider adding and cutting scenes and mayhap inserting new music. ... Ms. Taymor and the producers have ended that Deed II has storytelling problems that need to be fixed."[48] A "final postponement" was made once more, pushing the opening to March 15, 2011, in order to "allow Taymor to fine-tune the production and instate a new ending".[five]

The New York Times reported that the testify'south opening would be delayed for the sixth time, until summertime 2011. This latest filibuster included a shutdown of previews.[6] [49] The shutdown lasted from April 19 to May 11, 2011, in order for the new artistic team to implement changes; preview performances resumed May 12.[50] In March, Cohl and Harris said they close downwards previews because they felt "the story needed some work, the songs needed some work, and the sound needed some piece of work", and that they "were going to concentrate on those three areas over the next three and a one-half weeks." They also appear that injured Spider-Man stunt performer Christopher Tierney would exist rejoining the bear witness.[51] By April 2011 the capitalization was reported to have grown to $seventy million,[52] and as of the opening, it was reported every bit $75 million,[4] compared to the typical $five to $15 million for a Broadway musical.[53] Information technology included $nine.seven meg for sets and costumes, $4.4 meg to hire the Foxwoods Theatre for two years earlier performances began, and $two.2 1000000 for flying equipment. The weekly production budget was $1.3 million.[30]

Cast and creative squad replacements [edit]

My GOD, that was a lucky escape. Jesus Christ! Talk near dodging a bullet there!

—Alan Cumming, on his determination to leave the musical[54]

Evan Rachel Wood and Alan Cumming were cast as Mary Jane Watson and the Green Goblin, respectively, in June 2009,[55] but Wood left in March 2010 and Cumming the following month when the testify was delayed.[56] [57] The new original cast was announced on August 16, 2010.[58] During early previews Mat Devine, Gideon Glick, Jonathan Schwartz and T. 5. Carpio (and subsequently Alice Lee) played a group of characters known as the "Geek Chorus". Afterwards revisions, the characters were cut from the show.[59] [60]

In February 2011, playwright Roberto Aguirre-Sacasa was asked by the producers "to help rewrite the script".[61] He had written several stories for Spider-Human comic books and had revised the volume for a production of It's a Bird...It'south a Plane...Information technology'southward Superman.[62] On February 21, 2011, Paul Bogaev (a 2004 nominee for a Tony Award for Best Orchestrations) was hired "every bit a consultant to assist improve the performance, vocal and orchestration arrangements, and audio quality of the songs and numbers."[63]

In early on March 2011, Playbill and The New York Times reported that the producers had considered whether to "piece of work with an expanded creative squad" or have Taymor leave the production.[64] Shortly thereafter, Taymor left the production.[vi] Philip William McKinley joined the prove as "consultant", and Chase Brock joined every bit an additional choreographer.[21] [22]

Bandage injuries and additional replacements [edit]

[Joan Rivers] was there backstage to develop more fabric for her stand-up act, which lately has begun with a moment of silence for 'those Americans risking their lives daily – in 'Spider-Man' the musical'.

—The New York Times [65]

Six people were injured while working on Spider-Man.[30] Later two stunt doubles were injured during various flight sequences in rehearsals,[66] safety inspectors from the New York Land Department of Labor reviewed these scenes in the evidence[67] and, in February 2011, cited the testify for two workplace safe violations. The United States Occupational Safety and Health Administration fined the show $12,600 in March 2011 for three serious safety violations.[68] The Actors' Equity Clan also looked into the incidents.[67] One of the injuries occurred when Spider-Man stunt double Kevin Aubin broke both wrists.[69] Another actor "had broken [his] feet on the same move a month earlier."[lxx]

Natalie Mendoza, who was originally cast as Arachne, suffered a concussion during the first preview functioning on November 28, 2010, when she was struck in the caput by equipment in the wings. She did not study the accident to producers until November 30. She appeared in the second performance against her physician's advice; the role involves several flying sequences, including one in which she is spun upside-downwardly. Mendoza later felt ill, and America Olivo, her understudy, played the role during her nearly two-calendar week absence. Mendoza returned to the show for the December fifteen evening performance.[1] Post-obit the preview of Dec 20, 2010, when Spider-Man stunt performer Christopher Tierney was injured and hospitalized, Mendoza suspended her performance, Olivo once more filling in for her. On Dec 30, she announced her permanent withdrawal from the show. She was replaced by T. V. Carpio, with Olivo remaining as understudy.[71] When Carpio was injured in March 2011 and withdrew from the show for two weeks, Olivo performed the role once again.[72]

In that December 20 preview, Tierney savage 21 feet (6.4 k) off a piece of scenery when his harness was non continued to the safety string, leaving him to freefall through the stage and into the orchestra pit. Tierney was hospitalized at Bellevue Hospital Centre; he was released for rehabilitation on Dec 28.[73] [74] The December 20 performance was ended prematurely.[75] [76] After rehearsals for stricter safety procedures involving the harnesses, the evidence resumed with the evening performance on December 23.[77] [78] Tierney was released from New York University'due south Rusk Establish of Rehabilitation Medicine on January 5, 2011.[73] He returned to the show for rehearsals on April 25, 2011[79] and performed in the bear witness on opening night.[fourscore] Carpio was injured during a March 16 operation, reportedly hurting her neck, and left the show for two weeks.[81]

On August xv, 2013, histrion Daniel Curry (who was playing a villain, and was likewise a Spider-Human being stunt double) was hurt by apparently beingness pinned nether a slice of equipment and suffered leg trauma.[82]

Promotion [edit]

Performances [edit]

On September x, 2010, Carney and his band performed "Boy Falls from the Sky" on Proficient Morning America.[83] [84] Carney, Bono, and the Edge all performed on the May 25, 2011, terminal episode of American Idol Flavour ten at the Nokia Theatre in Los Angeles, singing "Rise Above."[85] Carney and Damiano performed "If The World Should End" on the 65th Tony Awards telecast in June 2011.

The evidence has twice appeared on Tardily Show with David Letterman. On March ii, 2011, the bandage performed "Rise Above", equally featured in Julie Taymor'southward version. On July 18, 2011, the cast, led by Patrick Page, performed "A Freak Similar Me Needs Company".

A brusk operation of this show was featured in the 2011 Macy's Thanksgiving Mean solar day Parade, with Spider-Man contesting villains, while the ensemble performed a medley of "Bouncing Off the Walls", "A Freak Like Me Needs Company", and "Spider-Human being!".

Television [edit]

Syfy was Turn Off the Dark'due south lead media partner, offer tickets to the show equally prizes and airing commercials for the production.[86] CBS' hr aired a feature on the production on November 28, 2010, the product's start preview performance, in which Lesley Stahl chronicled the creation of the musical.[87]

Reception [edit]

Press coverage and critical response [edit]

The show's first functioning, on November 28, 2010, "garnered what was virtually likely the most press coverage of a starting time preview in history."[88] By Jan 18, 2011, a reviewer reported that at that place were no delays during the preview he saw. He praised the stunts and ballads "that evoke the yearning grandeur of U2 – though their more upbeat cloth tended to be nondescript" but felt that the "plot of the second act twisted into tangled knots."[16] Radio and Television talkshow host Glenn Beck championed the product later on attending the preview showings several times.[89]

Most of the major theater critics published their reviews of the first version on February vii, 2011; nigh all of them were strongly negative in tone.[90] [91] Although reviews during the preview catamenia are unusual,[92] the critics decided that the ever-expanding preview period was and then long, and ticket prices were and so high, that they should non wait for the official opening.[93] An analysis in The New York Review of Books by classics scholar Daniel Mendelsohn followed up the complaints of other critics that Taymor'due south attempt to graft the classical myth of Arachne onto the comic book story turned the show into "a grotesque hybrid" and overloaded the plot with 2 unrelated chief villains in Arachne and Green Goblin. Mendelsohn saw

a crucial deviation betwixt the ancient and modern models of human-to-animate being metamorphosis. For today'southward audiences, such transformations are liberating — literally "empowering" – whereas for the ancients, they were, more frequently than non, humiliations, punishments for inappropriate or overweening behavior. ... At the heart of the Spider-Human being disaster is the essential incompatibility of those ii visions of physical transformation – the ancient and the modernistic, the redemptive and the punitive, visions that Taymor tried, heroically merely futilely, to reconcile.[94]

In a scathing review of the starting time version, The New York Times critic Ben Brantley had said that Spider-Man may "rank amid the worst" Broadway musicals.[95] In his review of the revised version, Brantley wrote, "So is this ascent from jaw-dropping badness to mere mediocrity a pace upward? Well, until terminal weekend ... I would have recommended Spider-Man only to carrion-feasting theater vultures. Now, if I knew a less-than-precocious child of 10 or so, and had several hundred dollars to throw away, I would consider taking him or her to the new and improved Spider-Man."[96]

In the prove'due south kickoff incarnation, the average rating from critics was "F+", while the revision garnered an average score of "C+". In a roundup of the reviews, Linda Buchwald commented, "critics actually miss some of Julie Taymor's ambition, crazy as they may have idea it at the time. Critics hold that the show is improved in that it makes much more than sense, still, now they mostly find it a bore. Bono and the Edge's score is nearly universally panned while Patrick Page's Green Goblin and stunning visuals remain for nearly critics the best reasons to see the show."[97]

Theatre review aggregator Curtain Critic gave the production a score of 50 out of 100 based on the opinions of 20 critics.[98]

Box office [edit]

Despite poor reviews and bad publicity, Spider-Man was at times successful at the box office.[65] Ticket sales the day afterwards the first preview on Nov 28, 2010, were more than one million dollars.[99] During the first full week of 2011, Spider-Homo had the highest box-office gross on Broadway, with a full of $1,588,514.[100]

The New York Times' Patrick Healy stated in February 2011 that Spider-Homo had become "a national object of popular culture fascination—more and so, perhaps, than whatsoever show in Broadway history" due to media coverage and late-nighttime comedians' monologues on the musical's many delays, injuries, and creative bug. He speculated that the musical would not take staying power through repeat viewings similar other hit musicals, after "tourists and parents with children" watched it for "bragging rights at dinner parties or on the playground".[65] The New York Post columnist Michael Riedel opined that month that the musical would be short-lived: "Depending on how much more money its backers are willing to lose, my hunch is that 'Spider-Man' volition stagger through the bound, pick upwardly with the tourist traffic in the summer and then collapse in the fall. It should be gone by September [2011]."[101]

Spider-Homo survived beyond September 2011, with ticket sales improving during the summer. About half of its audition came from across the New York metropolitan surface area, including many foreign tourists. In Nov, its producers stated that the prove earned well-nigh $100,000 to $300,000 in net income each week, which means that Spider-Human would take had to continue playing for at to the lowest degree 5 years to recoup the $75 million cost. Producers discussed adding new scenes and perhaps a new song each year to persuade fans to nourish it again every bit "a whole new [comic book] issue".[53]

The kickoff week of January 2012, the Broadway League reported that the show had taken in $2,941,790 in ticket sales the week before, the highest unmarried-calendar week gross of any show in the history of Broadway.[102] [30] The record was previously held by Wicked, which took $two.two million in a calendar week the previous year.[103] Sales declined to $621,960, however, by the last week of September 2013.[thirty] The bear witness eventually closed at a "monumental fiscal loss,"[104] with John Kenrick noting that "Spider-Man Plough Off the Night sold tickets, just rarely covered its ponderous weekly running toll."[x]

In pop civilization [edit]

Merchandise from the show.

Spider-Human'due south troubled production history, peculiarly the frequent cast injuries, fabricated the musical a common subject field of parody and ridicule in other media. After the commencement preview functioning, Conan O'Brien featured his ain "preview" of the show, demonstrating how the show could have been more inexpensively produced, in ways that included using Featherbrained String for spider web-slinging stunts.[105] On the December four, 2010 episode of Saturday Night Alive, Andy Samberg played an understudy supposedly going on in identify of the injured Spider-Man. The February 12, 2011 episode of SNL had a commercial parody for a fictional law firm called "Gublin and Green" specializing in lawsuits related to Plow Off the Dark, with a lawyer portrayed by Fred Armisen.[106] The cover of the January 17, 2011 New Yorker featured a cartoon, by Barry Blitt, showing multiple actors dressed every bit Spider-Man wearing casts or a head brace or in rehab.[107] [108] Sesame Street produced a YouTube skit in which Grover, playing "Spider-Monster," repeatedly slams into the bear witness's sole audience member.[109]

Other parodies explored the unusual thought of a superhero-themed musical. The Feb 3, 2013 episode of Robot Chicken contains a sketch titled "Avengers: Musictacular Tapstravaganza", featuring musical numbers sung by Thor, Blackness Widow, Hawkeye, Loki, and Fe Human being, a dance number past Helm America, and a large animatronic Blob.[110] The May 23, 2011 episode of Mad involved Taymor approaching Clark Kent to cast him in Smallville: Turn Off the Clark.[111]

Like many other Broadway shows, Spider-Man was parodied during the Tony Awards anniversary. During the 2010 Tony Awards, host Sean Hayes ran on stage dressed as Spider-Man, struggling comically to sing through the mask.[112] In 2011, host Neil Patrick Harris tried just failed to make as many jokes about Spider-Man as he could complete in 30 seconds.[113]

In Ultimate Curiosity vs. Capcom iii, Deadpool says that he will "rough [Spider-Man] upwards like a Broadway musical!" If victorious, he tells Spider-Man, "Maybe information technology would take helped if you turned off the dark!"[114]

Recordings [edit]

A Broadway concept album, produced by Steve Lillywhite,[five] was released on June 14, 2011.[115] On May 25, 2011, a single version of "Rising Above", titled Ascension In a higher place i: Reeve Carney Featuring Bono and the Edge, was released digitally.[116] [117] [118] The music video was released on July 28, 2011[119] and for the Billboard chart week of Baronial xiii, 2011 the single debuted on the Developed Top 40 chart at position 40,[120] and peaked at position 34. On the Billboard Hot 100, the single peaked at position 74.

Jon Dolan for Rolling Stone gave the album a three stars rating out of five commenting: "Amid the all many disasters that beset the Broadway version of Spider-Man, Bono and the Border's songs sally pretty much unscathed past critics. Now that the show has been revised and restaged, this centerpiece canticle of struggle over adversity may become a metaphor for its slog towards redemption. "Rise To a higher place" is a trademark soaring U2 carol, with the elegant grandeur cranked up to Andrew Lloyd Webber levels. Only show tunes need big voices too, and, singing adjacent to Bono on this version from the forthcoming cast recording album, leading man Reeve Carney sounds similar a nervous understudy."[121] Stephen Thomas Erlewine of Allmusic gave the album 1 star, stating that all the problems that plagued the production "obscured i central problem with the musical: the songs written by Bono and The Border are dreadful." Erlewine summed upwards his review calling the songs a "murky, turgid mess, as well concerned with atmosphere and narrative to reel in a listener and ironically not offering ambience or story enough to suggest that the musical would entertain."[122]

The concept album features alternating orchestrations and arrangements not featured in the Broadway productions and omits a number of songs including "The Myth of Arachne", "Behold and Wonder", "Bullying past Numbers", "Venom", "Spider-Human!", "I'll Take Manhattan" and the finale "A New Dawn".

Cast album [edit]

Spider-Man: Turn Off the Nighttime
Spider-Man - Turn Off The Dark (Original Music).jpg
Soundtrack anthology bandage recording past

Diverse
Released June fourteen, 2011 (2011-06-xiv)
Length 51:35
Label Interscope
No. Championship Length
1. "NY Debut (Instrumental)" 3:ten
2. "The Male child Falls from the Sky" 4:27
3. "Rising Higher up 1" 3:53
4. "Motion-picture show This" 3:38
5. "I Merely Can't Walk Away (Say Information technology Now)" 3:26
6. "Bouncing Off the Walls" 2:59
7. "Pull the Trigger" 4:01
8. "No More than" 3:45
nine. "D.I.Y. World" two:56
ten. "If the World Should End" three:46
eleven. "Sinistereo" 3:17
12. "A Freak Like Me (Needs Visitor)" 3:41
thirteen. "Rise In a higher place 2" 4:22
14. "Plough Off the Night" 4:06

Awards and nominations [edit]

Original Broadway production [edit]

Year Award anniversary Category Nominee Event
2012 Tony Award Best Costume Design Eiko Ishioka Nominated
Best Scenic Design George Tsypin Nominated
Drama Desk Award Outstanding Featured Thespian in a Musical Patrick Folio Nominated
Outer Critics Circle Award Outstanding New Broadway Show Nominated
Outstanding Featured Actor in a Musical Patrick Page Nominated
Outstanding Costume Design Eiko Ishioka Won
Outstanding Fix Pattern George Tsypin Won
Outstanding Lighting Design Donald Holder Nominated

References [edit]

Citations [edit]

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Further reading [edit]

  • Berger, Glen (2013). Song of Spider-Man: The Inside Story of the About Controversial Musical in Broadway History. New York: Simon & Schuster. ISBN978-1451684568.

External links [edit]

  • Spider-Human being On Broadway
  • ​Spider-Man: Turn Off the Nighttime​ at the Internet Broadway Database
  • Spider-Human: Turn Off the Dark at Broadway.com
  • Spider-Man: Plow Off the Night at Playbill Vault

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Source: https://en.wikipedia.org/wiki/Spider-Man:_Turn_Off_the_Dark

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