Spider-Man: Turn Off The Dark — A Broadway Experience

Described by the New York Times as the singing comic book, Spider-Man: Turn Off The Dark delivered an impressive high-flying, rock-and-roll, and uniquely theatrical performance at the Foxwoods Theatre in New York City.

On Sunday, July 24th, Gary and I had the opportunity to see Broadway's newest and most talked-about production. We were excited to witness what everyone was discussing — the aerial and acrobatic techniques, the high-flying action — and as a devoted U2 fan, I was eager to hear Bono and The Edge's take on Broadway, having missed their Miami performance earlier that month.

Spider-Man — the enduring superhero who lives in the hearts of young and old alike — has been reimagined through comic books, television, and now a mega-million-dollar Broadway production. The amped-up musical comic book was propelled by quick and slow tempos from Bono and The Edge, the international rock duo from U2.

Dubbed Broadway's most spectacular musical, Spider-Man: Turn Off The Dark captured the cartoon aesthetic while maintaining a comic book and musical feel. As one spectator put it, it was "Rock 'n' Roll meets Cirque du Soleil" — technical stage production and acrobatic swings combined. We had an exhilarating experience seated stage right in a high-action area, the section where Spidey makes sporadic landings, close aerial maneuvers, and occasionally spews his gooey web at the audience.

Inside all of us, there is a Peter Parker ready to leap out — to dream beyond the ordinary with limitless adventure and freedom. The show began at a slow pace, seemingly an attempt to reacquaint the audience with the backstory. It needed a heavier musical selection to energize the opening. The songs were not particularly catchy but were easy to listen to.

There were moments of laughter throughout the first act, and a genuine surprise when Spidey made his grand entrance suspended from cables extending from the balcony overhead. He apologized for his tardiness and blamed New York City traffic. "Sorry I'm late — you wouldn't believe the traffic," he called out.

Even with some unfavorable reviews, the show drew crowds in droves. The lobby was packed with tourists and families with young children; inside, a more mixed audience — couples and a mature crowd in the balcony. The younger audience was clearly delighted by Spidey's surprises, his occasional web-spewing, and his pop-ins through the crowd to shake hands.

Although the first half was slow-paced, part two delivered excitement, drama, romance, and comedy in full measure. Norman 2.0 — the mad scientist's transformation into the Green Goblin — brought laughter and cheers. The audience was riveted by what came next, and the flying action overhead kept everyone on edge. There were chuckles when the mad scientist introduced his army of mutant freaks, including a Grace Jones look-alike.

The climactic fight between Spider-Man and the Green Goblin was the highlight of the show and the clear audience favorite. As they flew overhead, we were warned not to hitch a ride. The Green Goblin was also brilliantly entertaining during his telephone bit with The Daily Bugle — frustrated by automated prompts and unable to reach a human, he navigated a series of menus before landing in the publisher's voicemail. No human interaction; just a technology takeover.

A word of caution: do not attempt to photograph the aerial acts. In the words of Norman Osbourne, played by Patrick Page, it would be "a $65 million circus tragedy." Phones and cameras will be confiscated.

Despite being marred by setbacks, injuries, unfavorable press, and production difficulties, Spider-Man: Turn Off The Dark is a summer must-see recommended for the entire family. If nothing else, it has brought an unprecedented media presence and global interest to Broadway. Now everyone wants to see Spider-Man fly.