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Musical (2011)

Musique: Bono • The Edge
Paroles: Bono • The Edge
Livret: Glen Berger • Julie Taymor

Type de série: Original
Théâtre: Lyric Theatre (Broadway - Etats-Unis)

Durée : 2 ans 6 mois 3 semaines
Nombre : 182 previews - 10066 représentations
Première Preview : dimanche 28 novembre 2010
Première : mardi 14 juin 2011
Dernière : samedi 04 janvier 2014
Mise en scène : Julie Taymor
Chorégraphie :
Commentaires : Spider-Man: Turn Off the Dark had no out-of-town tryouts because of the technical requirements of the production, which were designed for the Foxwoods Theatre on Broadway. The musical began previews at that theatre on November 28, 2010. After many delays, the official opening gala night took place on June 14, 2011.

The creative team originally included director Taymor and choreographer Daniel Ezralow, with scenic design by George Tsypin, costume design by Eiko Ishioka and lighting design by Donald Holder. An "expanded creative team", announced on March 9, 2011, includes Philip William McKinley, joining the production as "consultant" (when Taymor left the production). It also includes the addition of Chase Brock for additional choreography and Roberto Aguirre-Sacasa for additional writing. Taymor retained her original credits in Spider-Man.

The opening night cast featured Reeve Carney as Peter Parker/Spider-Man, Jennifer Damiano as Mary Jane Watson, Patrick Page as Norman Osborn/Green Goblin, T. V. Carpio as Arachne, Michael Mulheren as J. Jonah Jameson, Ken Marks as Uncle Ben, Isabel Keating as Aunt May, Jeb Brown as Mary Jane's Father, Matt Caplan as school bully Flash Thompson, and Laura Beth Wells as Osborn's wife Emily. Due to the physical demands of the role, Carney performs in six of the eight performances each week. The original alternate was British actor Matthew James Thomas, who left the show in November 2012 to star in Pippin.

On November 19, 2013, producers announced that the show would close on January 4, 2014, citing falling ticket sales[26] and no longer being able to get injury insurance for the production as reasons for closure. Having run on Broadway for over three years, the production failed to make back its $75 million cost, the largest in Broadway history, with investors reportedly losing $60 million.
Presse : The show's first performance, on November 28, 2010, "garnered what was most likely the most press coverage of a first preview in history."

Reactions to the first preview described the musical as "visually stunning," despite technical glitches that resulted in several stops and starts during the performance. By January 18, 2011, a reviewer reported that there 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 material tended to be nondescript" but felt that the "plot of the second act twisted into tangled knots." Radio and TV talkshow host Glenn Beck championed the production after attending the preview showings several times.

Most of the major theater critics published their reviews of the first version on February 7, 2011; nearly all of them were strongly negative in tone. Although reviews during the preview period are unusual, the critics decided that the ever-expanding preview period was so long, and ticket prices were so high, that they should not wait for the official opening. An analysis in The New York Review of Books by classics scholar Daniel Mendelsohn followed up the complaints of other critics that Taymor's 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 two unrelated main villains in Arachne and Green Goblin. Mendelsohn saw "a crucial difference between the ancient and modern models of human-to-animal metamorphosis. For today's audiences, such transformations are liberating — literally "empowering" – whereas for the ancients, they were, more often than not, humiliations, punishments for inappropriate or overweening behavior. ... At the heart of the Spider-Man disaster is the essential incompatibility of those two visions of physical transformation – the ancient and the modern, the redemptive and the punitive, visions that Taymor tried, heroically but futilely, to reconcile."

In a scathing review of the first version, The New York Times critic Ben Brantley had said that Spider-Man may "rank among the worst" Broadway musicals. In his review of the revised version, Brantley wrote, "So is this ascent from jaw-dropping badness to mere mediocrity a step upward? Well, until last 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."

In the show's first 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 thought it at the time. Critics agree that the show is improved in that it makes much more sense, however, now they mostly find it a bore. Bono and the Edge's score is almost universally panned while Patrick Page's Green Goblin and stunning visuals remain for most critics the best reasons to see the show."

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