Susan Granger’s review of “Spider-Man: Turn Off the Dark” (Foxwoods Theater: 2011-2012 season)
After all the hassles, hullabaloo and hoopla, this mega-budgeted rock musical by U2’s Bono and the Edge is a colossal disappointment except, perhaps, for privileged children and non-English-speaking tourists who seem delighted with the high-flying acrobatics.
Lifted from the fantasy of Marvel Comics, Spidey is actually the alter-ego of a nerdy teenager named Peter Parker (Reeve Carney), who is bitten by a radioactive spider during a school field trip to a science laboratory, causing much confusion for his wannabe girl-friend, Mary Jane Watson (Jennifer Damiano). As if in a dream, Parker becomes the superhuman Spider Man, under the watchful gaze of his guardian, Arachne (T.V. Carpio). Armed with his trusty camera, Parker works for blustery newspaper editor J. Jonah Jameson (Michael Mulheren), emerging as the only reporter able to photograph the elusive Spider Man. And that puts him in direct opposition with the megalomaniacal scientist who becomes the ferocious masked mutant known as the Green Goblin (Patrick Page from “Dr. Seuss’ How the Grinch Stole Christmas”).
“I’m a $65 million circus tragedy,” the villainous Goblin declares. “Well, more like $75 million.” (Cue knowing audience laughter.)
Originally directed and co-written by Julie Taymor (“The Lion King”) with Glenn Berger, it’s now helmed by Philip William McKinley, perhaps best known for working with the Ringling Brothers Barnum & Bailey Circus, and re-imagined by comic book aficionado Roberto Aguirre-Sacasa. Russian designer George Tsypin’s eye-popping, color-splashed dreamscapes are spectacular, particularly Manhattan’s Chrysler building viewed from above, as are Kyle Cooper’s projection designs: ZAP! POW! SPLAT!
So what about the music by Bono and the Edge? It’s significant that the show’s most memorable moment occurs when the Green Goblin ‘plays’ Rogers and Hart’s “I’ll Take Manhattan” on a prop piano.
After more than 180 ‘previews’ and a lackluster opening, it’s significant that the producers are working on a simpler, cheaper version of the concept that can travel and tour in arenas that can accommodate circus trapeze acts and where no one will pay much attention to Daniel Ezralow and Chase Brock’s clunky grounded choreography. It’s only when he’s airborne that Spidey soars.
So let’s cheer the many ovoid-headed, masked stuntmen who bring this show to life, even if their aerial rigging (heavy harnesses and thick wires) is fully visible – and it’s obvious that Reeve Carney a.k.a. Peter Parker clocks very little actual flying time as the titular webslinger.