99 and Under the Radar: Three Spidey Shows...Turn ON the Dark

Welome back to to 99 AND UNDER THE RADAR: A LOOK AT INDIE THEATER'S MOVERS AND SHAKERS, BroadwayWorld's new weekly series that showcases standout productions and production companies from the independent theater scene in New York City. Each week, independent producer Michael Roderick will be discussing the latest goings on in the theatrical wings, highlighting those with potentially bright futures.

This Week's Topic: "Three Spider shows and a company that encourages us to to turn ON the Dark"

In the wake of the 65 million dollar Spiderman's 3rd posting of "sorry not ready yet", three artists from completely different parts of the business decided that with great material comes great responsibility and decided to take a crack at telling the story Broadway has been stumbling over the past few months. The results were fantastic.

First out of the gate was John Osebold's "Spidermann" which played three performances at the experimental incubator on 45th st known as The Tank. The show proved to be the only version that chose to almost completely rewrite the classic story and create something with an associative structure that brought the house down. This is no doubt due to Osebold's excellent understanding of the Indie music scene and an uncanny ability to known when silence can cause the most laughter. The premise of this five cast member tale was that Peter Parkre meets up with radioactive Steve Winwood who causes him to split into the other characters of Spidermann and Spidermensch and then watch projections of spider nature videos throughout the course of the evening. In lesser hands, this tale could have been a disaster, but the dynamic cast is so incredibly committed to the material, the piece finds a humor in all of its absurdity that is hard to categorize but undeniably hard to forget. The music is also very catchy and more than one member of the audience was found to be humming Osebold's tunes while on the way out of the theatre. The piece concluded with an interpretive dance to a U2 song that was reminiscent of the old Saturday Night Live sketch that Martin Short did of synchronized swimmers. Over all, Osebold and his team, came, watched videos, and conquered.

Next up was the internet sensation The Spidey Project, which began with Justin Moran reaching out to the world via Facebook and Youtube to announce that he was going to write a Spiderman Musical and open it for two performances only using a budget of $0. The theater community rallied behind Moran as he got started creating the show and updated his loyal followers via Facebook. The culmination of this effort took place for two shows only at The People's Improv Theatre (The P.I.T.) Both shows were filled to the brim and with good reason. Moran's piece was a true homage to the hero that many comic book fans, including yours truly, have followed since they were in grade school. The show was obviously well researched and highlighted Gwen Stacy (played with wonderful comic panache by the talented Liz Bachman) who was Peter's first crush, and fan favorites J Jonah Jameson as well as appearances by a series of excellent super villains all played in one glorious love song/ fight sequence. This show tells the real story and does it with a comic genius that only an improv enthusiast like Moran could have pulled off. Travis Nilan makes an exceptional Peter Parker as well as Spiderman and Claire Neumann's portrayal of the desperate Betty Brant provided some of the biggest laughs of the evening. Moran and his team made the decision to only do two of these performances, but after this show, it wouldn't be surprising to see Moran and his creative partner Jon Roufael churning out the next Urinetown.

The third in the series is the true definition of parody. Randy Blair, Timothy Michael Drucker, and Matt Roi Berger's Spidermusical is an intricate satire of not only, the comic book world of everyone's favorite web slinger, but also musical theatre in general. Beginning with a nod to another popular musical about a winning lotto ticket, we are introduced to the cast as Peter Partker claims he has won the lottery and then after celebrating finds out he misread the numbers. The show soars from that point on making a fantastic mockery of the concept of special effects. The spider swinging sequences have the low budget punch of an episode of Robot chicken and the way someone gets run over by a subway train is another incredibly clever moment involving heelies. Alex Brightman is a winning Peter constantly vying for the affection of Mary Joan (Played with boundless energy by Sara Chase), and Randy Blair's villainous Dr. Cosbourne shows the true absurdity of genetic experiments gone awry. The show moves beautifully and has great pacing. The cast constantly change outfits and roles in what seems like seconds making one think that the cast is significantly larger than it is. One of the funniest tunes of the evening features Katie Thompson as Nana June lamenting the loss of her porcelain clowns and it's very easy to find oneself humming a tune or two about being in the dreaded "friend zone" on the way out the door. Overall, the team on Spidermusical are to be commended and it wouldn't be surprising to see this show rise again in a much bigger venue.




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Michael Roderick Michael Roderick has produced at Manhattan Theatre Source, Theater Row Studios, Where Eagles Dare, the Dorothy Strelsin Theatre, the Red Room, the Bridge Theatre at Shetler Studios and has produced shows in the NY International Fringe Festival, the Midtown International Theatre Festival, the Samuel French Off-Off Broadway Short Play Festival, among others. He has worked as an office associate for Davenport Theatrical Enterprises and has Off Broadway producing credit as an Associate Producer of the musical ROOMS a Rock Romance at New World Stages as well as an Associate Producer of The New Hopeville Comics at The Chernuchin Theater at ATA. Michael is currently the program director for Self-Producing Artists at Theater Resources Unlimited. Michael is also a graduate of the Commercial Theatre Institute's 14-week Program as well as the Six-week Creative Intensive Program. Michael is the organizer of the Independent Producers Alliance of NY and he holds a BA in Secondary Ed English and Theatre Performance from Rhode Island College as well as a Masters in Educational Theatre for Colleges and Communities from NYU.