I’ve only been casually commenting on Spider-man’s continuing production traumas since every major news outlet seems to think it’s headline news. Imagine TV production meetings all over the country - “Shall we lead off with Not that I’m complaining. How often does Broadway get regular national coverage? But it seems everyone is obsessed with Bono and Taymor’s vanity project. Would a $65 million dollar revival of Hello, Dolly! starring Christine Ebersole warrant the same press attention? “Christine, who?” you ask. Methinks not.
What I do find somewhat heartening is that finally, after months of previews and painfully bad reviews, the production team is finally deciding to stop this run-away train before it careens into bankruptcy (again). What have they been doing the last 100 preview performances (I viewed performance #4)? Well,
apparently not much.
I’m glad Bono recognizes that a complete overhaul is in order, but at least half of the show’s problems lie in the monotonous, un-theatrical score. I’m a U2 fan, but Bono and the Edge need to go take a class at BMI. Pop hooks and poetic cliché do not a musical score make. At the very least, theatre songs need to illuminate character or move plot along. Most of Spider-man’s score does neither.
Today’s press release, on the other hand, is a master class in spin. So carefully worded as not to offend or accuse anybody. Surprisingly, I’ve worked with the new director, Philip William McKinley, years ago in - brace yourselves - Fort Atkinson , Wisconsin
Though I wasn’t interested in seeing the show again, now I think I’ll have to buy a ticket if only to tell my grand-nieces or nephews that I saw the infamous Spider-man post- and pre- Taymor.
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