
New York, NY – Lead producers Michael Cohl and Jeremiah J. Harris announced today that SPIDER-MAN Turn Off The Dark has a newly expanded creative team in place. The team will be implementing a new plan to make significant and exciting revisions to the production. Opening night (previously set for March 15, 2011) has been rescheduled to an evening in early summer, 2011. This amended schedule will allow the time necessary to execute the plan, which will include revisions to the script.
The additional time commitment required by this new plan will make it impossible for director and co-book writer Julie Taymor to continue on in her day-to-day duties with the production. Philip William McKinley and Roberto Aguirre-Sacasa have joined the creative team to help implement new staging and book rewrites, respectively. McKinley has vast experience directing technically complex productions on Broadway and beyond. Aguirre-Sacasa is both an acclaimed playwright and a noted writer of Spider-Man comic books. The expanded creative team also includes musical consultant Paul Bogaev (Tarzan, Bombay Dreams, Aida, Sunset Boulevard) and sound designer Peter Hylenski (Elf, Scottsboro Boys, Rock of Ages, Shrek), both of whom have already been working on improving the musical arrangements and sound quality (respectively) over the past few weeks, thereby vastly enhancing the audience experience.
Producers Cohl and Harris said, in a joint statement, “Julie Taymor is not leaving the creative team. Her vision has been at the heart of this production since its inception and will continue to be so. Julie’s previous commitments mean that past March 15th, she cannot work the 24/7 necessary to make the changes in the production in order to be ready for our opening. We cannot exaggerate how technically difficult it is to make such changes to a show of this complexity, so it’s with great pride that we announce that Phil McKinley is joining the creative team. Phil is hugely experienced with productions of this scale and is exactly what SPIDER-MAN Turn off the Dark needs right now.”
Bono and The Edge added, “Julie is a truly gifted and imaginative director. This is an epic ride, and the standing ovations we have seen from the preview audiences have confirmed our absolute faith in the project. We are listening and learning and, as a result, we have a couple of new songs we are very very excited about putting into the mix. All of us on the creative team are committed to taking SPIDER-MAN to the next level. We are confident it will reach its full potential and when it does, it will open.”
Featuring direction by Tony® Award-winner Julie Taymor (The Tempest, Across The Universe, The Lion King), music and lyrics by 22-time Grammy® Award-winners Bono and The Edge, a book co-written by Taymor and Glen Berger (Underneath The Lintel) and one of the most iconic title characters of all time, SPIDER-MAN Turn Off The Dark is the most ambitious production ever undertaken on Broadway and finds astonishingly fresh ways to tell a story inspired by over 40 years of Marvel comic books. The show follows the story of teenager Peter Parker, whose unremarkable life is turned upside-down when he’s bitten by a genetically altered spider and wakes up the next morning clinging to his bedroom ceiling. This bullied science-geek suddenly endowed with incredible powers soon learns, however, that with great power comes great responsibility as villains put both his physical strength and strength of character to the test.


Who are maneuvers this transparent actually for?
the uninformed.
maybe i’m getting paranoid, but as your headline indicates, this press release is beyond suspicious. maybe i’m seeing conspiracies that aren’t there. maybe not. maybe it wasn’t their plan all along, and it just came up. however.
this might never have been about a broadway show. in truth, the producers might be treating broadway as ‘the road’ for something else. stay with me here.
If what we’re reading in general press is to be believed….and the producers leak like there’s no tomorrow on this production… they plan on making it a tent show around the world. putting in another 5 to 8 could be worth it to them. group of flush billionaires.
so they’ll keep just the simplistic commercial aspects of the book, re-write a couple songs, and keep all the taymor sets, costumes, flying numbers, etc.
she always said she’d only do this is she could tell the arachne story also.
so the producers said yeah, sure, you can do that.
6 weeks ago, cohl said publicly he didn’t care how long it took to open, that taymor could spend 100 million if needed. money and time no object. so obviously, either he was a crap creative producer or had other goals. when the producer is telling the director not to worry, plenty of time and money, he takes him at his word. (in this case she) cohl also spent a lot of time smirking at the new york press. did not help matters.
so now they hire a director who does circuses. they have also said this week that they want “more spectacle”. more spectacle? so you know where this is going. strip it down so it fits in tents all over the world. slap taymor’s name on it (‘from the famed director of lion king!)
the show’s bringing in over a million a week in previews, so screw broadway and new york. that’s not their goal.
have to wonder — who played who here?
Exactly!
Reading about this show is starting to sound like reading about the war in Afghanistan. My prediction: the third director of Spider-Man will be General Petraeus.
So this is just a convoluted way to say Julie Taymor has been given her marching orders. Why do they bother to dress it up?
Because they don’t want Taymor to turn around and start talking trash to the press.
Duh.
She wouldn’t trash talk it to the press. Her royalty points on this show are huge and she has every reason to want it to be incredibly successful financially.
They word it that way so that it can never be claimed she was “fired” from the show. It would be one of the points her lawyers insisted on to allow her designs and contributions to still be used when the producers brought in new blood.
Because we’re THAT stupid. Very Edith Wharton these charades.
This is well and good but all for nought. I saw this show last week. I have spent over 40 years as a fan of the American Musical Theatre, and I can honestly say that Spiderman will NEVER be worth the ticket price UNLESS the score and book are COMPLETELY THROWN OUT. The current book of this show is so incomprehensible and the dialog so laughable that the audience actually feels sorry for the actors. But beyond that, the score is ABSOLUTELY ATROCIOUS. U2 is one of the most important bands of recent times and Bono and The Edge are huge parts of that success. But they are in no way qualified to write a broadway score. Their songs do not connect with the plot or the action and the lyrics at times are incomprehensible. The only way for this show to survive is to quickly re-imagine EVERYTHING except the sets and costumes. But that would mean another $5 to 8 million or so on top of what’s already been spent. It is truly sad to watch this all go down.
Roberto Aguirre-Sacasa is unreal talented. I’m confident he’ll make the book a success. Not sure what’s going to happen with the music though, that might be a different story.
America loves those who rise from the depths…so, the stage is set for this show to be either the biggest Broadway flop in history…or like the Phoenix rising from the ashes…a stunning, thrilling and entertaining theatrical experience.
I am betting on the former, but wish them the best.
#winning
Continue to be shocked at the people who would LOVE to see Taymor fail, sink and drown. Sounds like they have her back enough to include her in the creative team. Cruel….cruel and shallow people.
Taymor has been riding the Lion King fame for the last 14 years. She’s only done a handful of productions since and mostly forgettable films since. She stuck her flag in this show with the biggest musical group and one of the most profitable intellectual properties in the world and together they have collaborated on a terrible, terrible show. Somebody has to take responsibility on this, and she’s the director. If you have another target, then name the system.
you MUST see the film “Across The Universe” – excelent film from Julie.
Frida was very good and got 6 Academy award noms; Titus was visionary. I wasn’t a fan of Across the Universe, but a lot of other people were. All three were clearly the work of a visually striking director in complete control of her storytelling abilities. “Forgettable” they ain’t.
That being said, it’s probably a good thing someone else is taking over on Spider-Man.
I do not believe people would “LOVE to see Taymor fail, sink and drown”. For those who love theater, Taymor’s Lion King was extraordinary.
The director has a huge responsibility, but without strong story and character (the book) and without equally inspiring theatrical score (music) combined with the complex staging…the problems are with much of the production.
I would bet most people were hoping Julie Taymor could pull this off, and she still may, but it needs much work, time and lots more money to even have a chance to work.
Nothing against Taymor, who has provided some works I like.. but whoever continues to fund this.. has no one ever heard the phrase: good money after bad? The more you sink into this, the more you loose. At current, you’d have to sell out for years, become the next “Cats” or “Oklahoma” and then you -MIGHT- get your money back… except f you have that kind of success, you’ll pay actors more.. but we are definitely on track to replace “Carrie the Musical” in the history books
… and now starring Charlie Sheen as the Green Goblin!!!
i saw the show over the holidays and it was a mess as everyone has pointed out. I felt that julie was the problem. Have you seen any of her opera work? She’s not really a great story teller. And I don’t think telling the straight ahead spider-man myth was that interesting. Thus she injected the whole arachnae story. But she didn’t throw out spider-man that we know. So what you have is neither a retelling of a greek myth or the traditional story. You have a mess. Then she throws in these kids who comment on and make up the story on their laptop as they spout the most embarrassing of dialogue this side of Saved By the Bell. THEN you throw in a score and songs that are pretty bland and not particularly good story telling songs. (The bored look on the guitarist’s face as he plays says a lot more about the show than the music or lyrics themselves.)
It will take a minor miracle to make a coherent version of the show and getting rid of julie is probably the best place to start so the new director doesn’t have to be precious about any of the elements on the chopping block. On the other hand, does it matter? If the show is truly selling out, how long at this rate until it turns a profit? Whenever sales ebb all they need to do is send some poor soul crashing to the stage. Surely they can find a schlemiel willing to take the insurance money every few weeks.
“Whenever sales ebb all they need to do is send some poor soul crashing to the stage.”
True enough!
But let’s see now, a Broadway musical based on a comic book superhero, with music by two members of the worlds most self-important and overrated band, slated to be the most expensive production in history, and set to open on the “ides of March”, is being delayed again for extensive rework.
Good luck, guys, you’re going to need it.
Note the change in billing already: “Featuring direction by Julie Taymor…”. “Featuring direction by” is not “Directed by”.
Nothing says, “Expect something lame” than “Exciting Revisions.”
Drop me a line if you need me to proof your next release. Thanks!
I don’t think all this media hoopla needs to be about wishing for Julie Taymor to fail. That seems unnecessarily harsh. In this situation, though, I have to wonder, with how many people did she and her co-collaborators road test this material? The fact that a majority (not everyone, but a majority) of people seem to be unhappy with the show suggests that her development process was too insular and that her visionary status was perhaps overindulged. No matter who you are, you don’t want to gamble with $65 million, especially when this isn’t a medium (comics) in which you’re well-versed.
In the end, I wish Taymor could be the one to get her show together, but it sounds like the backers just don’t trust that she can get clear-headed to the point of fixing it. Any more money spent by her might be seen as a risky gamble, whereas some new blood would come in with a bit more objectivity and probably restore their confidence.
I have only seen the movie version of this, have not seen the stage production, so I cannot comment on the storyline or creative aspect of it. From what I do understand is this production has had problems for accidents, injuries and that’s what has caused disruptions for shut down , other than that I haven’t heard that it was bad, the show never had a chance to take off because of the series of accidents…..which brings me to the this advise. I know 65 million is a lot of money in a good economy and even more so in this bad economy, and no one can emotionally digest the emotion opf losing it, so I understand why they’re bringing new people in to make changes, but also to secure the stunt work….this show is jinxed already, but if you must continue I do rememeber seeing the O show at the Mirage in Vegas, there was a lot of contortionists swinging in the air and it was a fantastic Circus De Solei show, there was a lot of stunt work done in the air, and they didn’t have one accident…so maybe the producers for Spiderman can find the O show people and ask them to help stage, wire or whatever else need to get done correctly to prevent future accidents. This is the only idea I can think of. Also please keep in mind that the down side of this show is that it already has bad press, fines for the accidents, and the wolves who fined them will be watching carefully and monitor everything, and if one more thing happens there will be harsher consequences next time. So if I were you, I’d be careful…..when you have the system on your back, especially when they need money is not a good thing. So you have to weigh the upside and down side of this show! Do not take anything for granted, and be cautious, extremely careful! You’re in a tough place I understand, but make smart choices / decisions after weighing your upside / downside. Good luck!
I agree with Lauren – everyone HAS been rooting for Julie Taymor to fail. Writing about this production has become a cottage industry for all of the web/magazine/newspaper critics and many others. They always seem to be foaming at the mouth to trash talk this musical, and the speed with which they broke professional etiquette to review this show just hastened Taymor’s departure. Schadenfreude is alive and well…
I think I could produce a revival of O’Neill and make more money than this show.
Across the Universe wasn’t very good either. The songs were good but the story that went with it was just a bunch of cliches that had nothing to do with the Beatles. They were American cliches! I’m American and it was embarrassing. Then she had her name all over it when it was all Beatles songs. I never saw the Lion King but you’re taking a hit movie and then claiming you’re responsible. Disney must have figured there was something beneficial about having a woman director behind it.
Don’t let the scenery hit your ass on the way out, Julie.
Or a hurtling lead/extra
I think the real problem is that Julie Taymor had no real love for the source material. She didn’t get Spider-Man or what made him work. He’s a lovable loser, the New York Mets of Superheroes, who has real-world problems like paying the rent each month. And it’s all grounded in New York City. The main and obvious fantastical elements are that there’s super-villains and super-heroes running around in NYC, all hyped up by science gone berserk. Greek Myths and Arachne have about as much place in Spider-Man as Thor showing up in Woody Allen’s Take the Money and Run, or Zeus getting the girl in Manhattan.
But I get it, Julie Taymor understandably loves Shakespeare and Greek Myth, and shoe-horned Arachne in because that’s what she gets and that’s the story she wanted to tell.
Maybe the next director will be an uber-Christian and will shoe-horn in Jesus giving Peter his powers, because he won’t get or love Spider-Man either.
Let Ms. Taymor take an original production that is not a comic book/movie franchise, a Disney film or a Shakespeare play and perfect it (in San Diego, perhaps) and bring it to Broadway in the traditional manner.
This is a clusterfuck if I ever saw one.