I just saw Bono and The Edge on David Letterman last week, where they confessed some misgivings about the songs … At times the whole event reminded of Paul Simon's Capeman which was literally sliced-and-diced by the critics when it first came out. That summer of 71, as Roger reminds, was also the summer of Paul Mc Cartney's great second solo album Ram.Ten years later, it was re-imagined and everyone loved it. My favorites from the concert, were Harrison and Russell singing “Beware of Darkness,” Harrison's own“Wah Wah,” “Something,” and the songs with Dylan, with Russell on bass and Starr on Tambourine.Although the nature of the Goblin’s hyper-violently maniacal fixation on Spider-Man remains a fuzzy plot point, the consolation is that the evening’s villainy is now all concentrated in the visage of Page. The part feels vestigial — retained perhaps because she’s introduced at the beginning of the show with some acrobatics spinning a web of fabric that were too costly to simply toss.
The hubris of the process has flowed in many directions, but for all its reliance on mechanistic marvels, the show still lacks what used to be worked out for a musical with a pencil and some paper: a persuasive argument for what Spider-Man has to sing about.
Fly around the theater as he might (along with several stuntmen in Spidey costumes), the character is emotionally static.
When last we left Spidey, boy, oh, boy, was he in a pickle. So Spider-Man’s big Broadway support team hunkered down to figure out how to wrestle with this new cosmic kind of archenemy: Call him Mr.
Rampaging super-villains are one thing — they come with the territory. Expecting-the-Semblance-of-a-Comprehensible-Musical. In the aftermath, scenes were tossed, numbers rearranged, people jettisoned. ) And now, after a six-month “preview” period replete with saturation news coverage, high-wire accidents, preemptive critic attacks, legal saber-rattling and major rewrites, the $70 million (or maybe even $75 million) “Spider-Man: Turn Off the Dark” has executed the one daring step that some predicted it would never take. What swings from the rafters, springs from the wings and bursts from the stage floor of the Foxwoods Theatre is a definite upgrade from the flailing behemoth on view in February, when I and a bunch of other reviewers, tired of the delays, took a gander at what director Julie Taymor had wrought.
He camps it up as gleefully as Cyril Ritchard once did, playing Captain Hook to Mary Martin’s Peter Pan.
Neverland’s template is a potential spine for the “Spider-Man” narrative, even if at this point the dynamic between the hero and villain remains underdeveloped.
This happens to work for the morose little romance between this Peter and Mary Jane, though you could wish their connection didn’t remind you quite so much of what you feel watching kitchen-sink drama. Aerial and dance choreography, Daniel Ezralow; additional choreography, Chase Brock.
Bono and the Edge’s score doesn’t reverberate this time around with any more theatrical joy or wit. Sets, George Tsypin; lighting, Donald Holder; costumes, Eiko Ishioka; sound, Jonathan Deans; projections, Kyle Cooper; music direction, Kimberly Grigsby.
I got the distinct feeling he is a fine performer, but, clearly in the wrong show. again, tremendously capable, but this is not the right show for her either. since 1978 (with his then-band Vow Wow) and is now set for two shows in New York City on Saturday, September 24 at Klub 45 in midtown Manhattan.
The SM myths differs dramatically from both the original comic as well as the three SM movies … Appearing with him will be Karl Wilcox, drummer for the legendary Brit-band Diamond Head.
And so even in its incrementally surer form, “Spider-Man: Turn Off the Dark” can’t shed the sensation that it would find a more suitable base of operations someplace like Coney Island.