Scenes in which Mr. Wait, why privately? To hear him tell it, he was star-struck and intimidated — and also shut down by Ms. Taymor, who, he frets, saw him as an obedient dialogue typist rather than a full partner. The embattled Ms.
- Insider recalls tangled web of Broadway's 'Spider-Man'?
- A Little Happier: The Musical “Song of Spider-Man” and the Problem of Unknown Knowns.;
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Berger after a tough day of technical rehearsal. Berger, who likes short, punchy sentences and loves italics, does better with comedy than with tragedy. He conveys the churn of a hydra-headed entity so amped on self-delusion, adrenaline and deadline panic that nobody involved can step away and take a breath.
- A fly on the wall of "Spider-Man" — Marissa Skudlarek?
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It would be a split screen depicting the gleaming offices of media giant Marvel Entertainment on one side and the makeshift office of two almost-entirely-untested Broadway producers on the other. But if this is a story about storytelling cast through the prism of Spider-Man the Musical, then maybe we should be starting fifty-thousand years ago, back in a time when the world was teeming with Paleolithic ceremonies featuring singing, dancing, and human characters endowed with animal powers.
In a large, single-paneled splash page, we would see two prehistoric figures arguing over just how their musical performance is supposed to go.
On their hairy faces—anger, exasperation. Because collaboration, by definition, requires humans to interact with each other. Which means every moment in a collaboration quivers with the potential for transcendental connection. And also fury, and hair-tearing frustration, and silences as icy as distant planets. Just look at Lee and Ditko. You think they had a falling-out?
Book SONG OF SPIDER-MAN: THE INSIDE STORY OF THE MOST CONTROVERSIAL MUSICAL IN BROADWAY HISTORY
Of course they had a falling-out. Another scene to ink and color: a twenty-first-century living room, somewhere in the United States, or Sweden, or South America.
Children have commandeered couch cushions and bathrobes. One of them is pretending to be Spider-Man. By the looks of it, their pretending includes a large cast of characters and an elaborate plot. We do it as automatically as a pancreas produces insulin. Into patterns. Into narrative. I would draw it in an emo-manga style, with a smudged, cocktail-sipping crowd in the background. In the foreground, a woman with flowing hair framing sad-smiling eyes is regarding the addled-looking man in front of her.
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I still do. With heart-scarred bewilderment, I love her. And the thing of it is. Julie Taymor despises me with photograph-shredding rage. Or so I hear. But I doubt it. While I was writing this book, teams of lawyers were busy submitting suits and countersuits. Among other demands, Julie wanted half of my money. Or—wait—let me say one more thing first. I am aware—I really am—that the following pages contain metaphors more appropriate for an account of an amputation tent in the Crimean War; adjectives best saved for the Apollo space program or the Bataan Death March.
Next to events of actual weight, I know this whole thing sounds self-important as hell. Just a play. Just a fucking play. See All Customer Reviews. Shop Books.