On a journey to become a socialite one must visit several realms of culture. The most apparent is broadway stage, where for decades visiting the theatre has been both an experience and a representation of class. Over the years the endearment has faded with pop cultures infusion with the stage. The grace that once existed is now a mere glimmer of what once was. However; with this infusion also harvested an integration of technology and class creating many new wonders to be appreciated by a mass audience of varying backgrounds.
My foray in this culture lied with my visit to Spider-man: Turn off the Dark (Pre-Opening March 27, 2011). Spider-man has been surrounded by controversy since its inception. The costs, the risks, the later injuries, the director, etc. have all found their way in failures in the spotlight and ridiculed by the masses.
SPOILERS AHEAD
Spider-man: Turn off the Dark was a laughable, miserable, but a highly enjoyable train wreck that you can't turn away from. Opening with quite possibly the worse song ever written (Sorry Rebecca Black, you have been dethroned) "Bullied by Numbers" was a laughable excuse for bullies [rolling in numbers] to beat Peter Parker with just the right amount of flamboyant finesse. Laughter erupted from the audience though-out the performance, but no comedy had meant to be delivered. "Bullied by Numbers" allowed for the audiences first taste of physical action on the stage, where we learned that none of the actors had even bothers to take a lesson or even the theories behind stage combat techniques. Punches flew from a mile away, kicks that even in Charlie Brown's worse would have missed the football, seemed to assault our friendly neighborhood Spider-man with precision, but don't worry, although wounded and aghast his singing voice never falters.
The show did have many redeeming qualities. The set designs were remarkable. The sets, mainly in the style of Marvel Comic artwork and comic cells paying homage to the early Spider-man comics, were something clearly no one has seen on broadway before. The mechanisms for the sets to change were spot on, and the crew behind the scenes never missed a beat. The sets were truly something so difficult to understand, but so easily admired, that I would recommend seeing the show just to experience the back drops. The infusion between advanced technologies and the classic broadway demeanor left the audience [or at least myself] in awe, but this was nothing compared to the acrobatics.
At least nine actors, all playing Spider-man propelled through the air above the audience; and while not always hitting the marks perfectly each actor/stunt man performance was stellar. The "high-flying action thriller" pitch given by the Foxwood Theatre before the show did not fall short on it's promise. Many times I was worried I would be kicked in the face as Spider-man and the Green Goblin flew was seemed like inches above my face in my orchestra level seats. The timing of each battle and motion of the actors in the theaters sky was incredible. What was lost in story development and subpar music (Sorry Bono) was forgotten during each captivating swing [near death experience].
I found each actors performance to be a little lackluster though I believe this was caused by the second-rate script that would make any Spider-man or Marvel Comic fan cringe. Where exactly does Spider-man: Turn off the Dark fall into Marvel's Multiverse? [Earth-GAY?] In which earth is Uncle Ben simply run down by a car in the middle of the street, what's even more confusing is why Aunt May is present. The show also jokes about how Spider-man gets his costume, making fun of the idea that he made it himself, however in the play it seemed to come out of thin air. Though I must say, the most annoying discrepancy by far is the fact that when Norman Osborn is transformed into the Green Goblin, the goblin skin is his own and not a costume. Hundreds of liberties were taking, changing both the dull and mundane, but also many essential to Spider-man's true origin. Though in retrospect comic book enthusiasts are not exactly broadways target market.
Lastly, I must elaborate on Bono, who obviously is in love with himself. [Reminding myself to breathe] Many songs from Spider-man simply sample some of U2's greatest hits. Also whenever a song would be played on on a radio for affect, albeit usually for less than 10 seconds, it would be from U2! Flash Thompson and Mary Jane Watson must be huge U2 fans. Why couldn't Trent Reznor have scored the show? Just think of what "The Social Network" would have been without him, maybe he could have done Spider-Man similar justice.
All-in-all the show itself was terrible for broadway standards, but its a technical wonder, and that alone must be appreciated. It is truly difficult to leave Spider-man without feeling satisfied despite all of its faults and at times pure childishness. I recommend Spider-man for anyone that likes to have fun and wants to guarantee themselves a few smiles for the day.
Spider-man: Turn off the Dark is a MUST SEE.
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