Rick Miramontez News

SPIDER-MAN's lead producer, Michael Cohl spoke exclusively to Entertainment Weekly and told them that 'Any of the people who review the show and say that it has no redeeming value are just not legitmate reviewers, period. It's hard to have people that don't get pop culture reviewing a pop culture event, isn't it?'

Spider-Man spokesperson Rick Miramontez gave an exclusive statement to Entertainment Weekly about his reaction to the show's reviews. What'd he say? 'The PILE-ON by the critics was ridiculous and uncalled for. Their actions are unprecedented and UNCOOL!' Click Here for the EW piece.

Last night's reviews of SPIDER-MAN turned out to be the most negative in recent memory. BroadwayWorld.com has a complete round-up of all of the reviews here, as well as our own critic, Michael Dale's 'nonReview' take that he'd be bucking the trend and waiting for the show's official opening on March 15th to weigh in.

In the New York Times, Ben Brantley writes that 'You are of course entitled to disagree with our decision. But from what I saw on Saturday night, 'Spider-Man' is so grievously broken in every respect that it is beyond repair. Fans of Ms. Taymor's work on the long-running musical 'The Lion King,' adapted from the animated Walt Disney feature, will have to squint charitably to see evidence of her talent. True, signature Taymor touches like airborne puppets, elaborate masks and perspective-skewing sets (George Tsypin is the scenic designer) are all on hand. But they never connect into a comprehensible story with any momentum. Often you feel as if you were watching the installation of Christmas windows at a fancy department store. At other times the impression is of being on a soundstage where a music video is being filmed in the early 1980s. (Daniel Ezralow's choreography is pure vintage MTV.)

In USA Today, Elysa Gardner bucks the trend thus far and writes that 'And while the state-of-the-art visuals can be stunning - not just the aerial sequences, but Kyle Cooper's blazing projection design - some of the most affecting touches are low-tech. Before Spider-Man first takes flight, the dancers doing his stunts leap and twitch like giddy children perfecting a new trick. Bono and Edge's songs aspire to the same emotional sweep. In a USA TODAY interview in November, Bono described the 'operatic' scope of U2's music. There are tunes here, melodic and undeniably theatrical, that confirm that determination to transcend sentimentality that links them to tunesmiths from Bruce Springsteen to Rodgers and Hammerstein. For more, tune in again in March. But know this for now: Spider-Man's creative team is trying to bring musical theater back to the future. And that's a mission worth rooting for.'

In the Hollywood Reporter David Rooney writes that 'But mostly, Spider-Man is chaotic, dull and a little silly. And there's nothing here half as catchy as the 1967 ABC cartoon theme tune. The absence of the word 'musical' from Taymor's definition of the show seems key. The songs by Bono and The Edge display minimal grasp of music's function in goosing narrative or illuminating character. And despite all the wailing-guitar attitude, they only squeak by as atmospheric enhancement. Aside from one or two stirring anthems in familiar messianic U2 mode, this is strictly album filler, with echoes of everyone from T. Rex to Alice Cooper, plus an occasional nod to The Who's Tommy. The lyrics - when you can decipher them - are either too vague or too literal. But an underwhelming score is the least of the show's worries. What really sinks it is the borderline incoherence of its storytelling. ' Click Here for His Full Report.

Here's what Charles McNulty had to say for the LA Times: But the time has come to assess the work, not the hullabaloo surrounding it. So much emphasis has been placed on the technological hurdles, the notion that 'Spider-Man' is trying things that have never been attempted before in a Broadway house. What sinks the show, however, has nothing to do with glitches in the special effects. To revise a handy little political catch phrase, 'It's the storytelling, stupid.' And on that front, the failure rests squarely on Taymor's run-amok direction. This is, after all, her vision, and it's a vision that has been indulged with too many resources, artistic and financial. The production, lacking the clarity that's born out of tough choices, adds when it should subtract, accelerates when it should slow down. Taymor's inventive staging of 'The Lion King' was a victory for the craft and commerce of theater alike. But the investors of 'Spider-Man' have inadvertently bankrolled an artistic form of megalomania.

Here's what Chris Jones had to say for the Chicago Tribune:'After the $65 million spent, the endless delays, the injuries, the cast changes, the incessant spinning of stories on the Web, Julie Taymor's 'Spider-Man Turn Off the Dark' now has to be willing to stand in the light. Deck chairs can be rearranged forever.

Here's what Jeremy Gerard had to say for Bloomberg:'Preview number 65 was no improvement over number 30. In fact, it was worse. After all this expenditure of talent and money, 'Spider- Man' is probably unfixable because too much has gone into making humans fly, which is not what they are good at. It imitates poorly what the 'Spider-Man' movies do brilliantly with computer graphics -- and without putting live actors in jeopardy.

Here's what the Washington Post had to say:If you're going to spend $65 million and not end up with the best musical of all time, I suppose there's a perverse distinction in being one of the worst. What's apparent after 170 spirit-snuffing minutes in the Foxwoods Theatre - interrupted by the occasional burst of aerial distraction - is that director Julie Taymor, of 'The Lion King' fame, left a few essential items off her lavish shopping list:

BroadwayWorld.com was the first to report that multiple critics from major newspapers have indeed purchased tickets in recent days to SPIDER-MAN: Turn Off the Dark, and they have come out in force. All but a few papers have filed reviews timed to tonight's performance which was, until the most recent delay, scheduled to be the show's opening night. Here are all the reviews for SPIDER-MAN: Turn Off the Dark to date and we'll keep updating as new ones come in.

BroadwayWorld.com has learned that multiple critics from major newspapers have indeed purchased tickets in recent days to SPIDER-MAN: Turn Off the Dark, and amongst those expected to publish reviews in tomorrow's newspapers will be The New York Times, The Washington Post, The Los Angeles Times and The New York Post. Early word is that the reviews are expected to be negative. These reviews will be timed to hit after tonight's performance which was, until the most recent delay, scheduled to be the show's opening night.

Well, the major Broadway critics haven't gone in (yet) but now the UK Telegraph is the latest paper to break the gentleman's agreement of holding reviews until after the official opening, an agreement which generally assumes a typical amount of previews. Well-known UK Critic Charles Spencer writes that 'Never mind turning off the dark. I spent much of this dreadful new musical muttering Please, Lord, make it stop.'

Adam Feldman, head of the New York Drama Critics' Circle, an organization comprised of many, but not all New York critics has just blogged about the result of their meeting tonight. On the agenda was whether they'd be able to reach a consensus about whether to wait for SPIDER-MAN's opening night to review the show. The end result? No consensus.

Well, the major critics haven't gone in (yet) but now the Toronto Star is the latest paper to break the gentleman's agreement of holding reviews until after the official opening, an agreement which generally assumes a typical amount of previews. Critic Richard Ouzounian writes that 'The only truly amazing thing about Spider-Man: Turn Off the Dark, is how unequivocally awful it is...'

According to Ew.com, T.V. Carpio has revealed that SPIDER-MAN director Julie Taymor is making 'major changes in the second act, which will make things more clear and better.' One of those 'major changes' includes the fight between her character, Arachne and Peter Parker.

Many critics still haven't decided (or announced) if they'll review SPIDER-MAN, but now New York Magazine's Scott Brown says that he will review the show on February 7th and then return to see the 'final product' on March 15th.

The attention of the world is still lasered in on SPIDER-MAN as is the New York Times, who reports that the long talked about new finale for the show has finally gone in today.

Now, the New Jersey Star-Ledger's music critic, Jay Lustig has gone in, noting that they considerer the number of previews that SPIDER-MAN has had to be 'an unreasonably long period of time' and also cite the fact that the audience is paying non-discounted ticket prices and therefore to wait would be 'absurd'.

Well, the major critics haven't gone in (yet) but MTV has now posted their review of SPIDER-MAN: Turn Off the Dark, in two parts. The first, entitled 'Five Things We Liked' includes the Set Design, The Costumes, The Aerial Work, It's Family Friendly and 'Splash Page' the show's opening number.