The Perfect Storm, my take on the Spiderman debacle

I wrote this article as part of "Spiderman Tuesday" for artistew.com.  Check out other opinions on the infamous Broadway musical here.

There’s no denying that Spiderman, Turn off the Dark is a budget blowing whirlwind of epic proportions, but exactly what spun Broadway’s super mega musical into a vortex of disaster is less obvious. Let’s look at some of the details that contributed to the perfect storm.


Producer Tony Adams originally got the rights to do the show from Marvel. He got Julie Taymor, Bono and The Edge on Board. Then he died.

Problem # 1: Your big picture guy, the one who has the vision for the project, is now out of the picture.

The production became the project of a number of other producers, unable to gather the necessary (and exhorbitant) capitalization, until it fell to the current ringmaster of this “rock and roll circus drama” (as Julie Taymor has coined it), Michael Cohl. Michael Cohl’s background is as a rock promoter.

Problem # 2: The savior of your show (and Mr.Cohl did save this show from the brink of not being), isn’t a seasoned lead Broadway producer.

Reportedly, Ms. Taymor is an uncompromising director, who has a vision that will be fulfilled at any cost. Given the already significant demands of the content (umm flying, sky high battles, mutant –like bad guys), Ms. Taymor’s rigid pursuit of her vision likely added to the financial demands of the show. In addition, the nature of the show made it too expensive to hold an out of town tryout. The Foxwoods Theatre underwent some serious renovations, just to accommodate the production.

Problem # 3: Every element of developing this show was expensive.

While Ms. Taymor is indubitably a talented and seasoned director, she is not a seasoned playwright, and she most certainly is not a seasoned musical book writer. While her collaborator, Glen Berger, while an accomplished playwright, doesn’t have any hit Broadway musicals to his credit.

Problem # 4: When launching an unprecedented project, it might be a good idea to hire someone who has Green/Comden-like success to write your book.

Finally, the safety issue that has been much discussed by my fellow bloggers, is a little more complicated than it may seem. Although it seems unconscionable that the production didn’t have the safety procedures it established after a stuntman plummeted to the ground FROM THE BEGINNING, hindsight is 20/20. Regardless, there were absolutely oversights in this department, as it seems there were at every step of this production, and safety is an issue that should be covering all bases. It’s not however, just an issue of not enough preparation. While the stunts involved are not unprecedented in a circus environment, they are unprecedented in a Broadway environment. What does that mean exactly? It means that Broadway actors, who are trained to sing, dance and act are suddenly flying, fighting, and performing acrobatic feats. That is dangerous in and of itself. Circus performers, like those who safely and magnificently perform with Cirque du Soleil, train for years to do what they do. Unfortunately, you can’t hire circus performers to do what a Broadway actor does, and you can’t afford to train a Broadway actor for years to do what a circus performer does just for one show.

Problem # 5: In reality, the concept is flawed. The only completely safe way to have done this production is not economically viable in the Broadway market.

To put it simply, Spiderman, Turn off the Dark is a project so ambitious that it needed a singular, overarching vision from the beginning, to set up checks and balances evaluating where the show was going and looking for problems before they arose. Unfortunately, the controls were not in place for this project and it has spent its entire existence playing catch up with unforeseen challenges. Whether it succeeds or fails will depend on the current leadership’s ability to plan ahead. I hear they’ve brought on a new consultant…

Strategy, Strategy, Strategy

So I had the benefit of attending Social Media Week NYC's presentation on social media in the arts world last week, hosted by the Guggenheim.  All of the speakers were from the visual arts world, but much of what they addressed was completely applicable to those of us in the performing arts.  There wasn't anything particularly groundbreaking, but there were some key points worth passing along.

1. Organizational buy-in

It's important to educate the rest of your organization about social media, how you're utilizing it, and why its important.  Create advocates in each department that can act as ambassadors for any social media campaigns you engage in.

2. Content is King

As arts orgs, what we bring to the table is content, the art, and the artists for that matter.  Providing access to the artists and the art is what will engage people in your networks.  If you're giving them the inside scoop, they have a reason to continue to connect.

3. Strategize

You have to PLAN your social media campaign.  Objectives are vital, then you want to find connections and points of integration for the projects you embark on at your organization.  (Hashtags for each production anyone?) 

And with that, I leave you with this genius video some consultant put together that, I feel, is a great visual breakdown of social media to share with your organization:

Who Are You?

Photo from thegraphicmac.com

So I've been lucky enough to be working with a great theater company based in Brooklyn that's embarking on a huge challenge: becoming an organization.

For those of you who have started companies or businesses you know that involves a lot of paperwork, a lot of record-keeping, too much time, and some serious energy.  However, it's also a pretty exciting process that enables you to establish something that can stand the test of time and have an impact larger than your own.  One of the toughest elements of "going official" is establishing organizational culture.

We've all heard about the Google offices with their kegeraters, slides, and multicolored cubicles (all heresay, I have no credibility here), but what is organizational culture really, and why does it matter?

Organizational culture is a set of values and norms that establish how you carry out business on a day to day basis.  For nonprofits, it's often influenced by the mission and vision.  For theater companies, this means the kind of work you do should be reflected in the way you run your organization. 

For example, if your company is producing classical opera on a grand scale with a mission of fulfilling the original visions of the composer, you will probably adopt more formal and traditional business practices.  In an effective organization events must appeal to the audience that your art appeals to, in order to create a sense of continuity and cohesion.

So where do you start in building your organizational culture?  Look at the art you are making and the artists you work with.  Sit down and establish your core values, things that are most important to your company, and from them build a mission statement: a statement of purpose.  Why do you exist and what are you trying to accomplish with your work?  Integrate best business practices into the "feel" of your organization by adjusting them to work for you.  Don't jump on every trend that runs by marketing and fundraising, but be choosy.  Take the things that fit into your culture and leave the things that don't.