Spiderman Preview Thread! — Page 41

manhattanite:

While I'm sure there are a handful of people on here that wish ill-will towards either the show or the cast, I think most of hte people in here really see serious problems with the show. And be careful, deriding non-theater community people, because that makes us the ticket purchasing public. And without us, there is no theater community.

Let's face it, like it or not, social media has transformed how people learn about, react, and respond to the theater. Now, if only we could convince some powers that be that there is a lot of good feedback that is clearly not filtered on here. Reading through the myriad of posts, most people agree that Bullied by Numbers is strange and a little awkward. The whole army sequence comes out of nowhere and (except for the fun choreography) doesn't exactly stop the show (which I guess in the case of Spiderman is a good thing - it doesn't need any thing to stop the show at this point). And the Act II steal all the high-heels Carrie Bradshaw dancing spiders moment was one of the weirdest moments I've seen on the stage.

Again, I would love to see this show do well. I actually didn't hate it, but I didn't love it either. I'm just afraid that the artistic team has so insulated themselves from public reaction that they're really not seeing the bigger picture and problems. I just don't see how you can go into previews with a musical and have the people responsible for the music touring in another country. While I'm hoping they're having daily skype conversations and madly rewriting songs in their off time, from what I've seen and heard the music is pretty much set and will not be changing. I hope I'm wrong. I home my little insider elves are wrong. But, at this point it doesn't look like I'm wrong.

TD

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manhattanite:

I bet we agree on more than we disagree then. I want to see most theater succeed. But let's face it, some shows just shouldn't be made.

Sorry about my knee jerk reaction to what I perceived as "the theater insider" comment. I've run into some theatrical professionals who really do forget about the paying public.

As for Michael Riedel, maybe he relishes the train-wreck a little too much, but through the snarkiness he's often right. He's a talented, humorous writer. However, you have to read through the humor to see the real point at times. Overall, I do think he as his place in the business. Without him drumming the beat about Spiderman, I probably would have waited until it opened to even bother seeing the show. Now, I've seen it in previews and will most definitely take friends to see it when it opens. See, he got me to buy two tickets - Julie Taymor and friends should thank him.

TD

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"From "The NY Times" review of Taymor's THE TEMPEST:

"As Miranda, Felicity Jones is both the sweet, unworldly apple of Prospera’s eye and a younger, softer version of her ardent, intelligent mother. Ms. Jones utters Miranda’s flights of love poetry with marvelous feeling and conviction, which unfortunately only emphasizes the inadequacy of Reeve Carney, the skinny mumbler cast as Ferdinand, the object of Miranda’s devotion."

ouch lol"


It's funny you picked that particular quote from the review, because I found this one a lot more appropriate and telling:

“The Tempest” is, perhaps above all, the portrait — the self-portrait — of an artist on the verge of saying farewell to his art. By abjuring her “rough magic,” burying her magician’s staff and drowning her book of spells, Prospera elects to live in a world without supernatural possibilities; having demonstrated the power of art, she accepts the limits of that power and forsakes hubris for humility, something Ms. Taymor seems unable to do."

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One has to wonder if the Reviews for "The Tempest" are omens of what Julie Taymor will have to face when Spider-Man opens. Here's an especially mean quote from the Newark Star-Ledger:

You can imagine why Taymor was drawn to this play (and bent the genders). Prospero is a role the famously difficult director was born to play, at least in her own mind — the talent ahead of her time, the misunderstood genius.
Except she’s not misunderstood — that’s the problem. And — after “Titus,” “Frida,” “Across the Universe” and now this — it’s becoming clear she’s no genius, either.

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Going to the show next Friday, sitting Row R Center Orchestra. Trying to make sure the show is safe for my grandmother, who has a small bladder. Is there a lot of action at all in the aisles and/or will ushers keep her out of (or in) her seat for long periods of time?

Also, how is the view from there?

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After watching the Isabel Keating interview, it seems clear that the book hasn't changed at all since the first reading circa '06/'07. This could explain a lot.

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Thanks, guys. (And clever, SNAFU.)

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Can someone please tell me how Jennifer Damiano was as MJ?!

It is just like Springtime for Hitler, only without good music, novelty, shock or entertainment.

Those who are fortunate enough to see this disjointed abortion are witnessing Broadway history in the form of the most expensive flop ever.

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"Can someone please tell me how Jennifer Damiano was as MJ?!"

to be honest it took me a minute to realize "MJ" stood for Mary Jane not Michael Jackson. there are so many characters in the show i thought i missed Michael which would have been a highlight! All I remember is she sings a song...or was it a duet? Maybe both? Can't remember a lyric or rhythm. i'm sure she is immensely talented along with others in the cast but the show to me was all about the flying and wanting to be a vegas cirque like event regardless of the cast members abilities and talents.

Uncageg:

Thanks for the posting of the PBS interview. After watching the interview, I think the most telling comment was when she came right out and said, "we made the choices a long time ago." And I think that pretty much spells the biggest problem with the show.

TD

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dshnookie:

That blasted Arachne. The first major image of her is pretty cool. She's hanging in air as a weaver and then she's transformed into a spider and these mechanical legs (that clearly have a life of their own) come out from behind her as her other six legs. That image of her is pretty cool.

As the show goes along, we see her in a big spider bubble (the spider's abdomen) to hider her legs. Until there's the one really bad scene where she has the abdomen on, but here she walks around on the stage for a brief period of time. Well, less walks and more scurries like a Japanese Geisha.

Of course her arms have been turned into spider legs, but she's still beautiful woman from the waist up.

Then there's the point where she magically stops being a spider and becomes woman again (kind of against the lore, but oh well). At this point, she's where a black suit with a slit up the side and of course - spiderweb stalkings underneath.

TD

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I'm hearing rumors that the "geek chorus" has mercifully been cut. Confirmation?

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