by Berger, Glen
Spider-Man the Musical, 6
“Arachne’s Theme,” 30, 72
author’s audition for, 17–19
big plans for, 29
“Black Widows on the Town,” 93
“Bouncing Off the Walls”/”Spun Around,” 35, 52–53, 70, 133, 184, 196, 281, 296
“Boy Falls From the Sky,” 30, 55, 87–88, 90, 92–93, 124–25, 134–35, 143, 201, 247, 351
“Bullying by Numbers,” 125, 296, 325–26
contracts for, 26, 101, 274, 290–91, 317, 347
“Deeply Furious,” 94, 122, 212, 219, 231, 233, 234, 241, 245, 247, 258, 278
“D.I.Y. World,” 148, 297
“A Freak Like Me,” 299–300, 301–4, 315, 327, 335, 336
Geek Chorus, 32–34, 35, 36, 46, 56, 73, 97, 133, 145, 149, 169, 184, 262, 295–96, 305, 319, 326, 328
“If the World Should End,” 42, 56, 311, 338
“Love Me or Kill Me,” 160, 162
music for, 29–30, 32, 49–51, 52–55, 64–65, 92–94, 122, 142, 159–62, 168, 293–94, 334, 335
new title for, see Spider-Man: Turn Off the Dark
“Picture This”/”Sunny Days,” 94, 296
“Pull the Trigger,” 125
“Rise Above,” 30, 36, 38, 53–54, 91, 98, 133, 152–53, 184–85, 241, 281, 324, 335, 337, 342
schedules for, 29, 30
script for, 31, 37
“Spider-Man Rising,” 168–70, 265, 281
“Think Again,” 50, 56, 299, 316, 328
title song “Turn Off the Dark,” 40–41
treatment for, 25
“Ugly Pageant,” 212, 233, 327
Spider-Man: Turn Off the Dark:
aerial action for, 67–68, 71–72, 77, 106, 124–25, 148, 154–55, 166, 170, 182, 185–86, 195, 306
Big Jump in, 147–48, 154, 158, 185
boy in audience, 200, 211
and camp, 179
cast album, 281, 340
casting of, 45–46, 88–89, 95–101, 107, 117, 317
center-speaker cluster in, 324
Chicago tryouts, 74–76, 220
choreography, 66, 100, 124–25, 130, 131, 132–33, 148, 297, 300–301, 306, 309–11, 316–17, 325–26
closing temporarily, 318–20, 321–24, 328
confetti cannons in, 328–29, 330, 335
costs of, 47–48, 77–78, 82–83, 84, 106, 110–11, 117–20, 138, 248, 272, 345
costumes, 54, 169
ending of, 212, 226–27, 229, 231–32, 275, 290, 328–29
feasibility of, 65–74, 80, 110–11, 156, 269, 272, 334
focus group, 245, 246–47, 255
Goblin Box, 307–8
Goblin’s Goddesses, 314–15
and illusion, 23–24, 72, 81, 144, 209
injuries and glitches in, 1, 148–50, 158–59, 162–63, 170–71, 177–78, 186–87, 190–91, 195–96, 200–206, 208, 248, 265–66, 335
investors in, 37, 78, 92, 106–7, 113, 117, 158, 241, 281, 283–84, 346
Iris Wall, 145, 146, 329
longevity of, 345–46
and media, 75, 82–83, 120, 165–67, 171, 189, 198, 205, 206–7, 247, 251–53, 277, 334, 342–43
and morale, 131, 167, 194–95, 206, 225–26, 255, 258, 283, 300–301, 306, 310, 316–17
music for, see Spider-Man the Musical
new title of, 37
opening night, 3–4, 6–7, 88, 167, 197–98, 199, 243–44, 264, 283, 301, 333–34, 336, 337–43
Plans A-C, 170, 212–16, 218, 219–22, 224
Plan X, 229, 231–38, 239–43, 248, 255–56, 258–59, 260–61, 263–69, 272–73, 275–76, 298, 328
previews, 30, 76, 121, 128, 166, 177, 182–88, 189–90, 195–96, 220, 265, 283, 301, 304–6, 321, 328–31, 333, 335
program credits, 330–31
publicity for, 88, 89–93, 134–37, 139–40, 158, 167, 188, 189, 218–19, 241, 253, 278, 325–26, 334, 335, 336
rehearsals, 74, 128–34, 138, 178–83, 231, 301, 306, 309–13
rewriting, 76, 179, 233, 245, 247, 253–54, 258, 260, 264–65, 282, 283–87, 292–93, 295–306, 321–24, 334
and safety inspectors, 166, 170, 171, 182, 205
schedules for, 42, 74, 83–86, 88, 92, 101, 121, 128, 166, 167, 170, 173, 197–98, 214–15, 220, 243–44, 247, 317–18
script for, 76
sets for, 61–62, 77, 83–86, 117, 148–49
and Sinister Six, 79, 80–81, 168, 190, 229, 311
technology of, 66–71, 74, 75, 79–81, 84–85, 120, 121, 128, 131–32, 324–25
Tech rehearsals for, 141–50, 152–59, 168–72, 174–75, 177–78, 179, 180–81, 188, 255–57
ticket sales, 219, 241, 245, 262, 321, 335, 345
title song, 40–41
and Tony Awards, 274, 338, 346
Turn Off the Dark 2.0, 304–6, 311, 326–31, 333–43
web ring/net, 84–85, 131–32, 137–38, 180–81, 188, 195, 208–9, 235
Spring Awakening, 40–41, 123, 297
Stage Directors and Choreographers Society (SDC), 306, 337
Stahl, Leslie, 92–93, 174, 188
Star Trek Forever, 10–11
Stein, Billy Jay, 161
Stephanopoulos, George, 134–35, 218
Stoppard, Tom, 17, 172
storytelling, 6, 324, 349
Stroman, Susan, 309
Sturgess, Jim:
and casting, 54, 88–89, 95, 99, 130
and early read-through, 54, 55, 56
singing, 70
tarantism, 289–90, 297
Taymor, et al. v. 8 Legged Productions, LLC, et al., 134
Taymor, Julie:
and Arachne myth, 13, 40, 280
and arbitration meeting, 271–76
author’s excitement about working with, 4, 7, 19, 20, 23, 40, 43–44, 51, 110, 133–34, 151, 194, 213, 226, 244, 256–57, 259, 263, 267, 269, 271, 273, 276–77, 298, 331
awards to, 12, 222–23
brought on board, 13–14, 331
and budgets, 47–48, 63, 77, 108–9, 120
and casting, 95–100, 123, 196
and contract, 26, 290–91
and credits, 330
and critics, 44, 63, 76, 118–20, 166, 167, 174, 193, 197, 198
and feedback, 189–90, 219, 245, 246–47, 305
and illusion, 14, 23–24, 50, 72, 77, 139, 223–26, 227, 246, 277, 306, 312
and Indonesian dancers, 177, 223–24, 246, 294
and injuries, 201, 203, 204–7
lack of communication with, 22–25, 213–16, 220, 235–38
lawsuits of, 134, 304, 337, 338, 348–49
and Lion King, 13, 14, 24, 48, 62, 69, 99, 142, 145, 246, 277, 348
and Marvel, 55–59
and the music, 30, 41–42, 44–45, 49–50, 65, 87, 93–94, 159, 160, 161, 222
and opening night, 4, 197–98, 334, 336, 337–41
out the door, 207–9, 215, 241, 242–43, 256, 261–63, 279–80, 283, 305, 313, 333
persuasive powers of, 19–20, 24, 35, 65, 74
and Plans A-C/X, 212–16, 218–22, 234, 240, 258–59, 266–67, 279–80
and previews, 183, 187, 188, 189–90, 222, 265
and publicity, 90–92, 134–37, 139, 140, 173–74, 333
and rehearsals, 129–31, 138–39, 171–72, 196–97, 200, 241–43
and rewrites, 305–6, 313, 316–17, 319, 324–25
shopping with, 260
and show’s survival, 150
and Tech rehearsals, 142–47, 149, 154, 168–69, 177
at TED Conference, 273, 275–76
and temporary closing, 318–19
as tetrachromat, 146–47
and Theatre for a New Audience, 347
and U2 (Bono/Edge), 21, 175–76
working with, 20, 62–63, 73–74, 75, 78, 81–82, 136–37, 144–45, 208–9, 214, 216, 224, 234, 237–38, 245–46, 257, 265–69, 316
and writing the book, 31–34
Telsey, Bernie, 95, 96–98, 101
The Tempest:
&nbs
p; cast members in, 89, 98, 100
critical reviews of, 197
premieres of, 136, 194
Taymor film adaptation of, 83, 226, 280, 287, 349
variations on, 286–87
Theatre for a New Audience, 347
Thomas, Matthew James, 99, 100, 130, 188, 306, 347
Tierney, Chris, 350
and accident, 200–206, 208, 267
and aerial effects, 155, 201–2
and choreography, 144
comeback of, 219, 237, 324
on Good Morning America, 218–19
Titus, 50, 98
The Today Show, 325–26
Tony Awards, 12, 107, 123, 142, 223, 261, 282
and Spider-Man, 274, 338, 346
Trussell, Robert, 334
trust, 11, 218, 220, 261
Tsypin, George, 254
and The Little Mermaid, 273–74
and revisions, 198, 199, 214, 238, 264, 313, 324
and sets, 61–62, 77, 83–85, 148–49, 324, 346
and tech issues, 81, 85, 208–9
Turner, Ted, 32
U2, 12, 34, 161, 337
albums of, 51, 88, 160, 175–76, 281
and collaboration, 50–51, 254, 350
concerts of, 21, 22, 112–14, 116, 129, 350
Ultimate Spider-Man, 13
Underneath the Lintel, 18, 193
Via Galactica, 216–18
Victor/Victoria, 9
Vincentelli, Elisabeth, 343
Wasser, Alan, 110, 111, 127
Watson, Mary Jane (fict.):
casting of, 54, 55, 123
in rehearsals, 143–44, 311
Wedekind, Frank, 41
Weinstein, Harvey, 265, 277
WGBH, 254
White, C. Randall:
and injuries/glitches, 148, 185, 201, 266
and previews, 185, 187, 200, 247
as stage manager, 142
and Tech rehearsals, 142, 143, 145–46, 150, 154, 167, 315
Winfrey, Oprah, 167–68
Wood, Evan Rachel, 54, 56, 88–89, 100, 107, 109–10, 119
Young Frankenstein, 76
YouTube, 135
Žižek, Slavoj, 128
Simon & Schuster
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Copyright © 2013 by Glen Berger
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First Simon & Schuster hardcover edition November 2013
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ISBN 978-1-4516-8456-8
ISBN 978-1-4516-8458-2 (ebook)
