'Spider-Man' producers respond to Taymor suit

Michael Cohl and Jeremiah J. Harris issued a statement Tuesday afternoon responding to Julie Taymor's suit over her role in the troubled but popular Broadway musical "Spider-Man: Turn Off the Dark."

Taymor, who was fired from the musical last March during a protracted preview period, sued the show's producers Tuesday, claiming her creative rights were violated and that she wasn't compensated for her work. The lawsuit, filed in federal court in New York, states that she is entitled to profits from the show as it was largely her creation, according to the Associated Press.

"Since Ms. Taymor's departure in March, we have repeatedly tried to resolve these issues," Cohl and Harris' statement said. "The production has indeed compensated Ms. Taymor for her contribution as a co-book writer. Fortunately, the court system will provide, once and for all, an opportunity to resolve these issues. We look forward to a resolution in which everyone is properly compensated for their contribution to "Spider-Man: Turn Off the Dark.' "

Taymor, who worked for years with U2 musicians the Edge and Bono and co-writer Glen Berger to create the show's music and book, was replaced by Philip William McKinley. Bono and the Edge stayed with the production to revamp their songs, while playwright Roberto Aguirre-Sacasa came in to help revise the book.

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-- Kelly Scott and John Horn

Photo: Reeve Carney as Spider-Man in the Broadway musical. Credit: Jacob Cohl

Julie Taymor sues producers of 'Spider-Man' musical

Director Julie Taymor, who was fired as the creative leader of the troubled musical "Spider-Man: Turn off the Dark," has sued the show's producers, claiming her creative rights were violated and that she wasn't compensated for her work.

Taymor, who directed the global theatrical blockbuster adaptation of "The Lion King," said in the lawsuit, filed Tuesday in federal court in New York, that she was entitled to profits from the show as it was largely her creation, according to the Associated Press.

Update: Later on Tuesday producers Michael Cohl and Jeremiah J. Harris issued a statement  responding. Read about it here.

Taymor, who worked for years with U2 musicians the Edge and Bono and co-writer Glen Berger to create the show's music and book, was shown the door in March and replaced by Philip William McKinley, whose only other Broadway credit was the 2003 musical "The Boy From Oz," which starred Hugh Jackman.

Bono and the Edge stayed on with the production to revamp their songs, while playwright Roberto Aguirre-Sacasa came in  to help revise the book.

"Spider-Man," which began preview performances last Nov. 28 in New York, was plagued by production delays, cast injuries and a spiraling budget that, at $75 million,  made it the most expensive show in Broadway history. The rebooted version under McKinley's guidance was not well-received by critics, but the show has generated steady ticket sales.

The Stage Director and Choreographers' Society previously filed a claim against the producers, alleging that Taymor was owed royalties. This week's lawsuit follows a decision by the administrators of the Tony Awards  that only Taymor is eligible for the show's best direction of a musical category.

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-- John Horn

Photos, from top: Julie Taymor (second from right) with her "Spider-Man: Turn Off the Dark" collaborators (from left) the Edge, Bono and co-writer Glen Berger. Credit: Joan Marcus

Patrick Page, left, and Reeve Carney in a scene from "Spider-Man Turn off the Dark." Credit: Jacob Cohl

'Spider-Man' shakes off bad reviews, reports stronger ticket sales

The critics have spoken.

 The “Spider-Man” audience isn’t listening.

A week after the ambitious — and famously troubled — musical received some of the worst notices in recent Broadway history, “Spider-Man: Turn off the Dark” reported that its ticket sales had actually improved since the toxic reviews came out.

On Monday, according to box office figures compiled by playbill.com, the web-slinging musical directed by Julie Taymor and featuring the music of U2’s Bono and the Edge said it sold $1.33 million worth of tickets last week  — grossing about $33,000 more than it did the week before the derisive notices were published. The show was the second most-popular on Broadway, trailing only "Wicked" but selling more tickets than the hit shows "The Lion King" and "The Merchant of Venice."

The musical, whose $65-million budget makes it the most expensive Broadway show ever, is not scheduled to open until March 15. But about a dozen prominent theater critics, some citing the show’s repeated postponements, took the unusual step of reviewing the show before its official debut.

To say that the “Spider-Man” marks were low would be an understatement. The Washington Post called it “a shrill, insipid mess,” the Los Angeles Times labeled it “an artistic form of megalomania” while New York magazine labeled it "underbaked, terrifying, confusing.”

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-- John Horn

Credit: Jacob Cohl / AP Photo /The O and M Co.

'Spider-Man' delays its opening one more time

A new ending? A new opening date.

The producers of the much-delayed “Spider-Man: Turn off the Dark” musical said Thursday that they were postponing the show’s opening yet again, pushing the first official performance from Feb. 7 to March 15 in order to  revise the troubled show and add a new ending.

The musical also will cancel two upcoming performances, on Tuesday and Jan. 25, offering refunds or exchanges to ticket holders. The producers promised the much-delayed show, the most expensive in Broadway history, will not postpone its opening again.

"'Spider-Man: Turn off the Dark' [is] 10 times more complicated to tech than anything else, and the preview schedule allows for only very limited rehearsal time (twelve hours per week),” lead producer Michael Cohl said in a statement. “We simply need more time to fully execute the creative team’s vision before freezing the show.”

Directed by “The Lion King’s” Julie Taymor, the new show, with music from U2’s Bono and the Edge, has been selling tickets at a rapid clip. Last week, “Spider-Man” passed “Wicked” as Broadway’s top-grossing show, selling $1.88 million in tickets.

Taymor and writing partner Glen Berger have been tweaking the show’s book, while Bono and the Edge have been tinkering with lyrics. Taymor hopes to add a concluding scene that will send the audience out with an emotional, uplifting jolt.

In addition to the production delays, some of “Spider-Man’s” cast have been injured during rehearsals and performances. Christopher Tierney plunged about 20 feet into the theater’s orchestra pit in one incident, and Natalie Mendoza was struck in the head while waiting in the wings. Mendoza subsequently left the show, but Taymor says Tierney, who has been attending preview performances, could eventually return to the company.

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-- John Horn

Photo: A scene from "Spider-Man: Turn Off the Dark." Credit: Jacob Cohl / Associated Press

'Spider-Man' cancels another preview performance

The producers of "Spider-Man: Turn Off the Dark" have canceled another performance in the wake of an accident that left one of the musical's most important stunt performers hospitalized in serious condition.

After canceling Wednesday's matinee performance after the Monday night accident that injured Christopher Tierney, "Spider-Man's" producers said they also would cancel Wednesday's evening show.

The musical's public relations department issued a statement saying that the show's creative team met with the Occupational Safety and Health Administration and the New York State Department of Labor. They “have agreed on the implementation of additional protocols which will be rehearsed today and this evening,” the statement said. "As such, tonight's performance ... has been cancelled. Performances will resume tomorrow evening [Thursday]."

The injured actor's brother, Patrick, told the New Hampshire newspaper website Seacoastonline.com that Christopher was scheduled to have back surgery on Wednesday. "I don't know when he'll be back on stage if at all," he told the newspaper.

Directed by Julie Taymor and featuring music from U2's Bono and the Edge, "Spider-Man" has been beset by an array of financial and safety problems. Tierney was the fourth performer injured during rehearsals and previews for the show, which features several dozen aerial scenes, some including actors flying above the audience.

The show's official opening has been delayed several times, and most recently was pushed back from January to early February. Despite (or perhaps because of) the accidents, ticket sales have been strong, and Wednesday night's show was sold out.

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 Above: The Wednesday evening performance of "Spider-Man: Turn Off the Dark" has since been cancelled. Credit: Seth Wenig/ Associated Press

'Spider-Man' musical claims another victim [updated]

 
What was once a troublesome trend is now a mini-epidemic: performers being injured in the new musical “Spider-Man: Turn Off the Dark.”

In a preview of the long-delayed production Monday night, Christopher Tierney, who performs many of Spider-Man’s most complicated flying stunts, fell an unspecified distance to the stage and had to be taken to a hospital when a harness or wire apparently failed.

A video taken by an audience member posted by the New York Times showed Tierney plunging off an elevated piece of scenery in a scene near the show’s conclusion.

“He fell several feet from a platform approximately seven minutes before the end of the performance, and the show was stopped,” a spokesman for the show said. “All signs were good as he was taken to the hospital for observation. We will have more news shortly.”

[Updated, 12:11 p.m. Tuesday: The show's organizers announced Tuesday afternoon that they were  canceling "Spider-Man's" planned Wednesday matinee but would proceed with its Wednesday evening show.

"The Occupational Safety and Health Administration, Actors Equity and the New York State Department of Labor have met with the Spider-Man company today to discuss additional safety protocols," the show's public relations department said in a statement.  "It was agreed that these measures would be enacted immediately.

"Tomorrow's matinee has been postponed and will be rescheduled. Tomorrow evening's, and all subsequent performances will proceed as scheduled."

Citing a person familiar with Tierney's medical condition, the New York Times reported that the actor had broken ribs and some internal bleeding.]

Natalie Mendoza, who plays the musical’s villainess Arachne and suffered a concussion in an earlier production accident, sent a Twitter message which read, "Please pray with me for my friend Chris, my superhero who quietly inspires me everyday with his spirit. A light in my heart went dim tonight.”

The show, at $65 million the most expensive in Broadway history, has been beset by a range of financial, creative and safety problems. In addition to Mendoza’s injury, another actor broke his wrists and yet another actor hurt his ankle.

Last week, its lead producer, Michael Kohl, announced that the show’s opening date was being delayed by four weeks until Feb. 7. The show, directed by “The Lion King’s” Julie Taymor, was at one point to have opened by now.

Actors’ Equity, which represents theater actors and stage managers, said in a statement: “We were informed shortly after the accident during the performance of Spiderman. We are working in cooperation with the state and city Department of Labor on this situation. We don’t have a further statement at this time.”

-- John Horn

Photo: One of the stunts the character Spider-Man performs in the Broadway musical, now in previews. Credit: Jacob Cohl / AP Photo /The O and M Co.

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"Spider-Man: Turn Off the Dark" will not be switching on its lights for a few more weeks.

[Updated 7:40 a.m. Friday: The opening date for director Julie Taymor's financially and aerially ambitious musical about the superhero web-slinger has been moved to Feb. 7, according to spokesman for the production.

As to any speculation that the date could change yet again, spokesman Rick Miramontez assured Culture Monster this date is set.

"The show is ABSOLUTELY going to open on February 7th," he said in an e-mail.]

The $65-million show, the most expensive in Broadway history, is currently in previews, and its opening has been delayed repeatedly. The official opening had previously been set for Jan. 11.

The production, featuring music by U2's Bono and the Edge, has been beset by any number of financial and staging delays, and Taymor has said she and her creative team have been working to revise the show's final scenes.

-- John Horn

Photo: Julie Taymor's new Broadway production, "Spider-Man: Turn Off the Dark," reimagines the story of Peter Parker and his Spidey persona to the music of U2's Bono and the Edge. Credit: Jacob Cohl / Associated Press

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Julie Taymor, caught in a spidery web

Julie Taymor was surrounded by some accomplished artists talking about some scholarly concepts.  U2’s Bono was talking with Russell Brand about the actor’s costarring role in Taymor’s “The Tempest” and the Edge was trying to explain the musical roots of Bulgarian choral arrangements. Yet the person Taymor was most interested in cornering in the middle of rehearsals for the new musical “Spider-Man: Turn Off the Dark” was production stage manager C. Randall White.

White essentially was playing a complicated version of the children’s game “Red Light, Green Light,” telling Taymor and her cast and crew over a public address system when the rehearsal could proceed, and when it had to be halted for technical or safety reasons.

In some instances, Taymor was able only to run through a few seconds of the show before Wallace put on the brakes. At other times, Taymor was permitted to rehearse entire “Spider-Man” scenes, even if they were done at 50% of their normal pace.

Half speed is a foreign concept to Taymor, whose theater, opera and filmmaking career is a diverse collage of visual and storytelling influences. While many of her productions play to niche audiences, her “Spider-Man” musical is intended to (and must, if it’s ever to make a profit) appeal to the widest possible spectrum of ticket buyers.

Click here for a closer look at Taymor’s artistic goals for “Spider-Man” and her thoughts about popular culture, Shakespeare and the nation’s obsession with show business finances.

--John Horn  

Photo: Bono (music and lyrics) and Julie Taymor (director, co-book writer) during the production of the Broadway show "Spider-Man:Turn Off the Dark." Credit: Joan Marcus

 

'Leap of Faith' sets out on the road to Broadway

 
 
It was billed as an informal presentation for investors, but the mood inside the Little Shubert Theatre some eight months ago was nearly as energized as opening night on Broadway. Several hundred potential backers crowded into the midtown Manhattan theater to hear the first of three staged readings of “Leap of Faith,” the long-in-the-works adaptation of the 1992 Steve Martin movie.

At that Jan. 14 performance in New York, the musical was a bit all over the place—the first act was nearly two hours long, and secondary characters (such as the local sheriff) had epic songs that tended to repeat a lot of the narrative in “Leap of Faith’s” book. There wasn’t any dancing, including the ballet sequences that director/choreographer Rob Ashford subsequently added to the show’s world premiere at the Ahmanson Theatre. But much of the core story—hustling preacher comes to small town, is bowled over by single mom—was there, as was composer Alan Menken and lyricist Glenn Slater’s gospel score. 

A lot of people agreed the show needed to be cut down and focused, but as the crowd walked out into the evening’s winter chill, they had warm thoughts about “Leap of Faith’s” future.

Now the show is poised to open in Los Angeles, with Brooke Shields replacing the workshop’s Sutton Foster as single mom Marva McGowan and Raul Esparza (who has been with the show for more than three years) as faith healer Jonas Nightingale. Take a look at my story on how the show came together, and some of the “Leap of Faith” creative issues still to be resolved, in the Sunday Arts & Books section.

 --John Horn

Photo: From left, Harvey Evans, Raul Esparza, Brooke Shields and Nicholas Barasch in a diner scene during dress rehearsal for "Leap of Faith" at the Ahmanson Theatre. Credit: Bob Chamberlin / Los Angeles Times

[updated: an earlier version of this post misspelled Nicholas Barasch's last name.]
 

What do New York dealers Matthew Marks and Zach Feuer know about architecture? Ask Peter Zellner

When New York powerhouse Matthew Marks decided last year to open a gallery in Hollywood, he hired Los Angeles architect Peter Zellner to design it. 

When next-generation New York dealer Zach Feuer decided this year to find a larger space in Chelsea (he hopes to sign the lease this week on a one-of-a-kind property — check back for details), he tapped Zellner for what could be a radical remodel.

In a short time, Zellner of Zellner Plus has become a go-to architect for the art world, thanks mainly to his work in the gallery neighborhood of Culver City (which actually, technically, spills out into Los Angeles). Just five years ago, it had more auto shops than art spaces. Now, there are a couple dozen galleries, with Blum and Poe still playing an anchor tenant sort of role from its new two-story building. 

And Zellner, 40, has had a hand in the growth. He has done conversions for the Project (now defunct), LAXART, Walter Maciel Gallery and Susanne Vielmetter’s new 7,500 square-foot space, the last of which was once a pool hall.

His look is raw. And his thinking is that galleries today must be flexible enough to accommodate artists who drill holes in the floors, ram columns through the walls or, in the case of Paul McCarthy, turn the white cube of the gallery into a brown mess — a fully operational chocolate factory churning out perverse chocolate Santas, just in time for the holidays.

“I’m willing to let artists completely destroy my work,” he told me for a feature in the May issue of Art+Auction magazine (my last before starting this job), with photographs by Elena Dorfman.

He also talks about

• the “garage-band” firms that make the history of architecture in L.A. interesting
• what it’s like to work for his wife, LAXART founder Lauri Firstenberg
• why the utopian vision that brought Schindler, Neutra and others to Southern California no longer applies

-- Jori Finkel

You can follow the writer on Twitter: @jorifinkel.

Peter Zellner at LAXART, founded by his wife, Lauri Firstenberg. Photograph by Elena Dorfman.